,1TY  OP' 

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Useful  Reference  Series,  No.  4 


MODERN  DRAMA  AND  OPERA 


MODERN  DRAMA 
AND  OPERA 


A    Reading    List 

on     the     Works      of 

D'ANNUNZIO,  HAUPTMANN,  IBSEN,  JONES,  MAETER- 
LINCK, PHILLIPS,  PINERO,  ROSTAND, 
SHAW,  SUDERMANN 
and    of 
DEBUSSY,  PUCCINI,  RICHARD  STRAUSS 

Compiled   by 

Mrs.  CLARA  (MULLIKEN)  NORTON 

FRANK  K.  WALTER 

FANNY   ELSIE    MARQUAND 


BOSTON,  MASS. 
THE    BOSTON  BOOK  COMPANY 

1911 


Originally  issued  in  the 
Bulletin  of  Bibliography, 
1907,  1908,  1911,  but 
greatly  extended  and  with 
additions  for  this  publi- 
cation in  book  form. 


Part  I 


MODERN  DRAMAS 

BY 

MRS.  CLARA  (MULLIKEN)  NORTON 

B.  A.   (Nebraska);  B.  L.  S.   (N.    Y.  State  Library  School) 

and 

FRANK  K.  WALTER 

Vice-Director,  New  York  State  Library  School 


^  1 54« 


PREFACE  TO  PART  I 

This  list  aims  to  cover  the  best  English  editions  or 
translations  of  the  dramatic  works  of  these  authors, 
whether  published  in  collections  or  separately.  The  an- 
notations and  references  to  critical  reviews  accompanying 
the  dramas  listed  are  followed  by  general  critical  and 
biographical  articles  selected  from  sources  in  English,  and 
include  separate  books,  periodicals  and  analytical  chap- 
ters of  books. 

Much  additional  matter  and  many  more  of  the  partic- 
ular dramas  of  these  authors  are  to  be  found  in  the 
native  tongue  in  which  they  write.  This  is  notably  true 
of  Hauptmann  and  Sudermann. 

Stoeckius,  in  his  "  Naturalism  in  Modern  German 
Drama,"  includes  a  full  biographical  list  of  the  German 
material  relating  to  Hauptmann.  In  the  cases  of  Ibsen 
and  Maeterlinck  the  number  of  translated  dramas  tallies 
closely  with  the  number  of  originals.  For  a  fairly  com- 
plete list  of  their  published  plays  see  Hale's  "Dramatists 
of  To-day."  The  publisher  is  given  for  each  volume  of 
plays,  and  in  most  cases  prices  are  quoted.  No  abbre- 
viations not  immediately  intelligible  to  the  user  have  been 
included.  With  few  exceptions  the  books  listed  have 
been  personally  examined  by  the  compiler. 


PREFACE  TO  SECOND  EDITION 
OF   PART    I 

The  principal  changes  made  in  the  entries  of  the 
first  edition,  prepared  by  Mrs.  Norton  in  1906,  have 
been  additional  citations  of  reviews,  alternati\e  editions 
available,  and  the  correction  of  a  few  obvious  errors. 

The  general  purpose  has  not  been  changed  and  no 
attempt  at  completeness  or  scholarly  bias  made.  A  liberal 
policy  of  selection  has  been  followed  and  an  attempt  made 
to  keep  the  list  fairly  to  date.  More  than  two  hundred 
additional  entries  of  books,  periodical  articles  and  ana- 
lyticals  have  been  made  and  more  than  four  hundred 
additional  citations  made  to  reviews.  A  table  of  con- 
tents and  a  title  index  of  dramas  mentioned  have  been 
made.  In  the  sections  on  criticism,  a  number  of  acted 
but  unpublished  plays,  with  critical  references,  have 
been   noted. 

Two  new  sections,  on  Henry  Arthur  Jones  and  Pinero, 
permit  some  comparative  study  of  the  "literary  drama" 
of  the  first  edition  and  the  "stage  play"  as  represented 
in  the  work  of  these  two  prominent  English  playwrights. 
As  the  original  notes  on  these  sections  were  destroyed 
in  the  New  York  State  Library  fire  credit  for  their 
present  form  is  largely  due  to  three  members  of  the 
class  of  1911  of  the  New  York  State  Library  School: 
Mrs.  Philip  L.  Allen  and  Mr.  Sylvester  J.  Carter,  who 
collected  the  material  on  which  the  present  section  on 
Pinero  is  based,  and  Miss  Ruth  F.  Eliot  who  collected 
that  on  Henry  Arthur  Jones. 


CONTENTS 

PART    I 

MODERN    DRAMA 

Page 
Modern  Drama:  its  Traits,  Tendencies 

and  Technique 11 

D'Annunzio:  — 

Plays 18 

Criticism 19 

Hauptmann:  — 

Plciys 21 

Criticism 23 

Ibsen: — 

Plays 25 

Criticism 29 

Jones,  Henry  Arthur:  ^ 

Plays 34 

Non-dramatic  works 38 

Criticism 38 

Maeterlinck:  — 

Plays 41 

Criticism 44 

Phillips :  — 

Plays 47 

Criticism 48 

Pinero :  — 

Plays 50 

Non-dramatic  works 55 

Criticism 55 

Rostand:  — 

Plays ^. 58 

Criticism 59 

Shaw:  — 

Plays  (collected)    Gl 

Works  published  separately <)4 

Criticism 64 

Sudermann:  — 

Plays / 07 

Criticism 69 

9 


10  CONTENTS 

PART  II 

MODERN   OPERA 

Page 
Abbreviations    for    Periodicals    referred    to    in 

Part  II 72 

Debussy 73 

Puccini 75 

Strauss,   Richard 80 

INDEX 

Title-index  of  Plays  and  Operas 89 


THE  MODERN  DRAMA; 
ITS  TRAITS,  TENDENCIES  AND  TECHNIQUE 

Adams,  William  Davenport,  comp.  Dictionary  of  the 
drama;  a  guide  to  the  plays,  playwrights,  players  and 
playhouses  of  the  United  Kingdom  and  America  from 
the  earliest  times,  v.  1.  O.  Phil.,  1904.  Lippincott, 
$3.     To  be  complete  in  2  v. 

Finds  a  place  here  merely  as  a  guidebook  to  a  vast  body 
of  varied  theatrical  publications.  Reviewed  in  Nation.  Xov. 
17.  1904,  79:400. 

Archer,  William.  Study  and  stage,  a  yearbook  of 
criticism.    2,3U  p.  D.    Lend.,  1899.    Richards,  5s. 

One  year's  notes  on  the  stage,  written  in  journalistic  style, 
but  level-headed  and  intelligent  in  perspective.  Mr.  Archer 
is  the  eminent  translator  of  most  of  Ibsen's  dramas. 

Reviewed  in  Academy.  Dec.  1899,  57:  715-16;  Saturday 
Rev.,  Nov.  18,  1899,  88:  643;  Spectator,  June  30,  1900.84:903. 

Baughan,  E.  A.   Literature  in  drama.  Fortnightly  Rev. 
90:    775-82.    Nov..    1908.     Same,    Living    Age,    259: 
781-7.  Dec.  26.  1908. 
Discusses  modern  literary  possibilities  of  the  drama. 

Borsa,  Mario.  English  stage  of  todav;  tr.  by  Selwyn 
Brinton.    O.   Lond..  1908.    Lane.  .'J2.50. 

Discusses  most  of  the  present  prominent  dramatists  in  an  in- 
teresting, scholarly  fashion. 

Reviewed  in  Academy,  Dec.  14,  1907,  73:  250;  Athenaeum. 
Feb.  15,  1908.  1:  204;  Dial.  .\pr.  10,  1908.  44:  248;  Inde- 
pendent, May  7,  1908,  64:  1039;  Nation,  Dec.  26.  1907.  85: 
594;  Putnam's.  May.  1908.  4:  234. 

Clarence,  Reginald.  "The  Stage"  cyclopedia;  a  bibli- 
ography of  plavs.  503  p.  O.  Lond.  1909.  "The 
Stage."     10s.  6d. 

"An  alphabetical  list  of  plays  and  other  stage  pieces  of 
which  any  record  can  be  found  since  the  commencement  of 
the  English  Stage,  together  with  descriptions,  authors' 
names,  dates  and  places  of  production." 

Chiefly  useful  in  tracing,  through  titles  and  dates  of  pro- 
duction, criticisms  and  descriptive  articles  not  recorded  in  the 
ordinary  periodical  inde.x  and  for  the  frequent  references  to 
sources  and  adaptations. 

Clapp,  Henry  Austin.  Reminiscences  of  a  dramatic 
critic,  with  an  essav  on  the  art  of  Henry  Irving.  241  p. 
O.     Bost..  1902.     Houghton,  .S1.75. 

The  American  stage  during  the  last  thirty  years.  His  criti- 
cisms are  full  of  taste  and  penetration.     Spectator. 

Colby,  Frank  Moore.  Adventures  of  a  plav-goer. 
:.SVc  hi<  Imaginary  obligations.     1904.    p.  118-66.) 

Colton,  Arthur.  Drama  and  the  play.  (See  North  Ameri- 
can Rev.,  Jan.,  1911,  193:  72-S2.) 
Comparison  of  the  "literary  drama"  and  "the  stage  play." 

11 


12  MODERN    DRAMA 

Courtney,  William  Leonard.  Modern  social  drama  as 
intkR'ncctl  1)\  [he  no\cl.  (See  Fortnightly  Rev-.,  1902, 
77:  000-74.)' 

A  lecture  delivered  in  Feb.,  1902,  at  the  Birmingham  and 
Midland  Institute.  Mr.  Courtney  is  editor  of  the  Fortnightly 
Review  and  is  prominent  as  a  dramatic  critic. 

Eaton,  Walter  Prichard.  At  the  New  Theatre  and 
others;  the  .American  stage:  its  problems  and  per- 
formances.   359  p.  O.    Bost.,  1910.    Small,  SI. 50  net. 

"Survey  of  the  American  stage  during  the  two  seasons  of 
190S-1().  .V  sound  but  slightly  biased  account  of  the  theatrical 
syndicate  is  followed  by  a  discussion  of  the  virtues  and  defects 
of  the  New  Theatre,  criticism  of  the  plays  produced  there  and 
at  other  New  York  theatres,  and  a  number  of  dramatic  essays." 
A.  L.  A.  Book  List. 

Reviewed  in  Nation.  Nov.  24.  1910,  91:  505;  N.  Y.  Times. 
Nov.  12,  1910.  I.-):  030. 

Faguet,  Emile.  The  symbolical  drama.  {See  Inter- 
national Mo.,  Dec,  1903,  8:  329-41.) 

A  member  of  the  French  Academy  gives  definite  ideas 
as  to  the  existence  of  symbolism  in  the  different  dramas  of 
Ibsen  and  Maeterlinck. 

Faxon,  Frederick  Winthrop.  Dramatic  Index,  1909-10- 
Boston  Book  Co.     2  v.  sq.  O.  1910-11.     $3.50  each. 

-Annual  cumulation,  with  additions,  of  the  quarterly  lists 
[n  the  Biillelin  of  Bibliography.  Also  forms  Part  II  of  the 
annual  Magazine  Subject-Index.  (Boston  Book  Co.,  .?5.50 
per  vol.)  Includes  references  to  periodical  articles  relating  to 
dramatic  authors,  criticisms,  plots,  portraits,  and  dramatic 
illustrations. 

Pilon,  Pierre  Marie  Augustin.  The  English  stage- 
being  an  account  of  the  Victorian  drama;  tr.  from  the 
French  by  Frederic  WTiyte,  with  an  introduction  by 
H.  A.  Jones.    319  p.  O.    N.  Y.,  1897.    Dodd,  S2.50. 

Appeared  first  in  Revue  des  deux  mondes.  Includes  sum- 
maries, criticisms  and  prophecies,  with  chapters  on  Pinero 
and  Ibsen. 

Reviewed  in  VVestminster  Rev.,  Feb.,  1S97,  147:  151-5,  by 
Stoddard  Dewey. 

Fiske,  Mrs.  Minnie  Maddern.  Matter  of  the  play. 
{See  International  Mo..  1902,  5:  629-44.) 

Concerned  with  the  stage  interpretation  of  the  problem 
play. 

Francke,  Kuno.  History  of  German  literature  as  deter- 
mined by  social  forces.  Ed.  4.  595  p.  O.  N.  Y.,  1901. 
Holt,  S2.50. 

An  enlargement  of  his  Social  Forces  in  German  Literature 
to  include  a  treatment  of  contemporary  German  drama.  A 
scholarly  work  summing  up  the  complex  forces  in  modern 
German  society,  but  not  always  just  in  criticizing  the  details 
of  the  different  dramas. 

Freytag,  Gustav.  Technique  of  the  drama;  an  exposi- 
tion of  the  dramatic  composition  and  art  .  .  .  tr.  from 
the  6th  German  ed.  by  E.  J.  MacEwan.  Ed.  3.  395  p. 
D.    Chic,  1900.    Scott,  Foresman,  $1.50. 

One  of  the  best-known  general  discussions  of  the  subject. 
Needs  supplementing  with  later  material  but  still  one  of  the 
familiar  references  in  college  courses. 

GafEney,  Fannie  Humphreys.  Modern  dramatic  real- 
ism.     {See  Arena,  Apr.,  1903,  29:  391-6.) 

Greenslet,  Ferris.    Theory  of  the  drama.    {See  Forum, 
July,   1899,  27:  631-40.) 
A  thoughtful  discussion  of  dramatic  pleasure  and  its  source. 


MODERN'    DRAMA  13 

Hale,  Edward  Everett,  Jr.  Dramatists  of  today:  Ros- 
tand, Hauptmann,  Sudermann,  Pinero,  Shaw,  Phillips, 
Maeterlinck;  being  an  informal  discussion  of  their 
significant  work.  236  p.  D.  N.  Y..  1905.  Holt, 
$1.50. 

"Essays  reprinted  partly  from  the  Dial,  dealing  mainly 
with  continental  plays  seen  on  the  American  stage.  Of 
lighter  weight  and  narrower  scope  than  Huneker's  Icono- 
clasts. Temperate,  conservative,  readable,  reliable."  A  chatty 
and  entertaining  book  for  the  general  reader  to  consult  first, 
but  one  which  he  may  safely  neglect  for  the  further  study  of 
any  particular  author.  The  bibliographic  lists  add  to  its 
value  as  a  popular  guide. 

Reviewed  in  Atlantic  Mo.,  June,  1905,  95:  842;  Nation, 
July  6.  1905,  81:  14;  Outlook.  May  VS.  1905,  80:  138;  Dial, 
May  16,  1905,  38:  357;  Critic,  July,  1905,  47:  90. 
Hamilton,  Clayton  Meeker.  Theory  of  the  theatre 
and  other  principles  of  dramatic  criticism.  251  p.  D. 
N.  Y..  1910.    Holt,  §1.50. 

"Papers  that  illustrate  certain  steady  principles  of  dramatic 
criticism."     Bk.  Rev.  Digest. 

"A  live  book,  tho  not  a  permanent  one."     Independent. 

Reviewed  in  Bookman,  May.  1910,  31:  301;  Dial.  June  16, 
1910,  48:  420;  Independent,  Sept.  1.  1910,  69:  484;  Nation, 
May  19.  1910.  90:  518;  Review  of  Reviews,  June,  1910,  41: 
768. 
Hapgood,  Norman.  Stage  in  America,  1897-1900. 
40S  p.  D.    X.  v.,  1001.    Macmillan,  .SI. 75. 

Disussis  the  syndicate,  theatrical  conditions,  prevailing 
types  of  pl.iNs,  prominent  actors,  plays  and  dramatists.  "Even 
those  who  are  unable  to  agree  unreservedly  with  his  precepts 
and  conclusions  will  appreciate  the  vigor  and  general  intelli- 
gence of  his  convictions  and  his  comprehension  of  the  funda- 
mental principles  upon  which  the  theatre  must  be  conducted 
if  it  is  to  demonstrate  its  right  to  be  considered  an  art." 

Reviewed  in  Bookman,  13:  241;  Nation,  72:  401;  Dial, 
30:  335;  Spectator,  May,  1901,  1:  704;  Literature,  8:  465; 
Critic,  41:  129. 

Theory  of  dramatic  criticism.     (See  Forum,  Mar., 

1899,  27:  120.)  • 

A  plea  for  more  breadth  of  mind  in  our  dramatic  critics, 
disparaging  those  who  prudishly  moralize  upon  the  evils  of 
the  stage  and  remain  blind  to  the  art  of  the  play  and  to  its 
social  mission. 
Henderson,  Archibald.  Evolution  of  dramatic  tech- 
nique. {See  North  American  Rev.,  Mar.,  1909,  189: 
428-44.) 

The  drama  is  not  stationary  in  form  but  progressive  in 
development. 

Hennequin,  Alfred.  Art  of  playwriting;  being  a  prac- 
tical treatise  on  the  elements  of  dramatic  construc- 
tion, intended  for  the  playwright,  the  studer»t  and  the 
dramatic  critic.  187  p.  D.  Bost.,  cl890.  Houghton, 
SI. 25. 

Has  the  faults  of  similar  manuals,  but  includes  some  fairly 
good  analyses  of  dramatic  art  in  general. 

Herrmann,  Oscar.     Living  dramatists:  Pinero,  Ibsen, 
.D'Annunzio;    introduction    by    W.    \V.    Massee.      O. 
N.  Y.,  1905.      Brentano,  S5  net. 

Hogg,  Wentworth.  Guide  to  selecting  plays.  190  p. 
U.    X.  v.,  lUlO.    S.  P'rcnch.    paper.  25c. 

"It  has  not  been  my  intention  to  write  any  critical  re- 
marks .  .  .  my  sole  desire  being  to  give  ...  a  concise  sum- 
mary of  the  plot,  the  number  and  nature  of  the  characters 
and  some  idea  of  the  necessary  scenery."     Preface. 


14  MODERN    DRAMA 

Huneker,  James  Gibbons.  Iconoclasts,  a  book  of 
(Iruiiuitists:  Il)seii,  Sliindberg,  Becque,  Hauptmann, 
Sudermann,  Hervieu,  Gorky,  Duse  and  D'Annunzio, 
Maeterlinck  and  Bernard  Shaw.  430  p.  O.  N.  Y., 
1905.     Scribner,  SI. 50  net. 

Brilliant  and  original  characterizations  of  the  symbolistic 
and  revolutionary  dramatists.  The  subjects  of  the  essays 
correspond  closely  to  those  included  in  this  bibliography. 
Stimulating,  broadening  in  judgment,  and  pre-supposing  some 
knowledge  of  the  matter  criticized.  "W.hat  one  misses  in  his 
work  is  repose  and  finish  and  a  careful  avoidance  of  too  gen- 
eral observations." 

The  greater  part  of  the  foregoing  essays,  now  completely 
revised,  first  appeared  in  the  New  York  Sun.  They  also 
appeared  in  single  numbers  in  The  Lamp. 

Reviewed  in  Athenaeum,  August,  1905,  2:  284;  Atlantic, 
Mo.,  June,  1905,  95:841.  by  H.  W.  Boynton;  Dial,  May  16, 
1905.  38:  357 ;  Outlook.  May  13,  1905.  80:  140. 

Jerome,  Jerome  K.  Problem  of  the  problem  play. 
{See  Harper's  Weekly.  Dec.  10,  1904,  48:  1916-18.) 

Kerr,  S.  P.  What  are  immoral  plays?  {See  Westminster 
Rev.,  Apr.,  1901,  155:  444-50.) 

Answer  to  Allan  Laidlaw's  What  are  immoral  plays?  chal- 
lenging his  theory  and  presenting  a  more  solid  and  tempered 
argument. 

Laidlaw,  Allan.    Drama  on  the  downward  grade,  1868- 
1898.  (5ee  Westminster  Rev.,  Mar.,  1900,  15.3:317-23.) 
Scattered   remarks  to  prove   that   one   form    of   drama  is 
degenerating  and  giving  place   to  a  form  of  a  higher  kind. 

What  are  immoral  plays?     {See  Westminster  Rev., 

Aug.,  1900,  154:  212-16.) 

Answers  the  question  in  an  original  but  fantastic  manner. 
The  argument,  in  the  somewhat  difficult  case  of  art  or  morals, 
is  against  repression  of  these  plays  on  the  stage.  A  sounder 
statement  is  found  in  S.  P.  Kerr's  article  in  Westminster  Rev., 
155:  444-50. 

McCracken,   Elizabeth.      The  play  and   the  gallery. 

{See  Atlantic  Mo.,  89:  497-507.) 

The  effect  of  the  theatre  upon  the  social  and  moral  stand- 
ards of  the  tenements. 

Published  also  in  the  Outlook,  May,  1902,  71:  169-78. 

Mackaye,  Percy  Wallace.  Playhouse  and  the  play,  and 
other  addresses  concerning  the  theatre  and  democracy 
in  America.   210  p.  D.    N.  Y.,  1909.    Macmillan,  $1.25. 

Five  essays  by  a  rising  young  American  play-writer,  dealing 
generally  with  the  significance  of  the  theatre  in  American 
civic  life. 

Reviewed  in  Independent,  July  8,  1909,  67:  93,  Nation, 
May  G,  1909,  88:  409;  Review  of  Reviews,  June,  1909,  39:  767. 

Maeterlinck,  Maurice.  The  modern  drama.  {See  his 
The  double  garden.     D.  1904.     N.  Y.  Dodd,  $1.40.) 

Marked  by  distinction  of  style  and  freshness  of  vision. 
Suggestive  if  not  convincing. 

An  article  under  the  same  title,  translated  by  Alfred  Sutro, 
appeared  in  the  Cornhill  Mag.,  Aug.,  1899,  80:  166-73. 

Of  our  anxious  morality.     {See  Fortnightly  Rev., 


Jan.,  1906,  85:  46-01.) 

Translated  by  Alexander  Teixeira  de  Mattos. 

Manager  vs.  critic.     {See  Everybody's  July,  1909,  21: 
119-30.) 

Discussion  of  manager's  attitude  toward   frank  criticism. 
Critic's  side  by  H.  Davis;  manager's,  by  P.  Armstrong. 


MODERN    DRAMA  15 


Matthews,  Brander.  Development  of  the  drama.  351  p. 
D.      N.  Y..  VMi.  Scribner,  SI. 25  net. 

Mr.  Matthews  is  a  playwright  and  a  critic  of  distinction 
who  writes  with  charm,  sincerity  and  effect. 

Reviewed  in  Nation,  Oct.  29,  190;j,  77:  346-7;  Lamp,  Nov., 
1903.  27:  329-32. 


Inquiries  and  opinions.      305  p.  D.     N.  Y..   1907. 

Scribner,  SI. 25. 

Includes  Apology  for  technic  (p.  51-71);  Modern  novel  and 
the  modern  play  (p.  181-20t);  Literary  merit  of  our  latter-day 
drama  (p.  207-25);  Ibsen  the  playwright  (p.  229-79);  Art  of 
the  stage-manager  (p.  283-305). 

Makers  of  drama  of  today.     (See  Atlantic   Mo., 

Apr.,  1903,  91:  504-12.) 

Historical  sketch  of  dramatic  progress  during  the  nine- 
teenth century.  Mr.  Matthews  is  distinguished  as  a  critic 
of  French  drama. 

Revival  of  the  poetic  drama.     (See  Atlantic  Mo., 

Feb.,  1908,  101:  219-24.) 

The  poetic  play  must  be  dramatic  as  well  as  poetic. 

Studv  of  the  drama.  320  p.  D.  Bost.,  1910.  Hough- 
ton, SI. 50. 

"A  study  of  the  technic  of  the  drama.  It  is  intended,  not 
for  those  who  want  to  write  plays,  but  for  those  who  wish  to 
learn  how  plays  are  written  now  and  how  they  were  written 
in  the  past.  .  .  .  In  other  words,  this  study  is  devoted  mainly 
to  an  examination  of  the  structural  framework  which  the 
great  dramatists  of  various  epochs  have  given  to  their  plays; 
and  it  discusses  only  incidentally  the  psychology,  the  phil- 
osophy and  the  poetry  which  we  now  admire  in  these  pieces." 
Preface. 

Reviewed  in  .Athenaeum,  July  2,  1910,  2:  23;  Bookman,  Apr. 
1910,31:  183;  Dial,.-Vpr.  10.  1910,  48:  268;  Educational  Rev. 
Apr.,  1910,  .39:  422;  Sept..  1910.  40:  207;  Forum,  May,  1910, 
43:  558;  Literarv  Digest.  .Apr.  2.  1910,  40:  6.58;  Nation,  Apr.  14, 
1010.  90:  3S2;  Review  of  Reviews.  June,  1910,  41:  768. 

Merington,   Marguerite.      What  constitutes  a  plav? 
(See  North  American  Rev.,  Dec,  1902,  175:  863-70.) 
"That  the  persons  of  the   play,   under  e.xtraordinary  con- 
ditions,  shall   produce  on  an  audience   the   effect  of   human 
nature,  is  the  touchstone  of  the  playwright's  art." 

(The)  play  once  more.      (See   Outlook.    Feb.    4,    1911,97: 
258-60.) 

Discusses  the  recent  revival  of  the  drama  as  a  ix)pular 
literary  form. 

Potter,  Helen.  The  drama  of  the  twentieth  centurv. 
(See  Arena,  Feb.,  1900,  23:  157-66.) 

A  rambling  attempt  to  show  the  evolution  toward  the 
realization  of  a  new  idea  —  that  of  a  "conditioned  stage  with 
a  conditioned  audience." 

Price,  William  T.  Technique  of  the  drama;  a  statement 
of  the  principles  involved  in  the  value  of  dramatic 
material,  in  the  construction  of  plavs  and  in  dramatic 
criticism.   287  p.  D.    N.  Y.,  1897.    Brentano,  S1.50. 

Scott,  Clement.  Drama  of  yesterday  and  today.  2  v. 
O.   Lond..  1899.    Macmillan.  S7. 

"Result  of  forty  years'  keen  observation,  enthusiastic  and 
competent.     Valuable   especially   as   a    history   of   the   stage, 
and  for  its  chronicle  of  plays  in  the  appendix.     Its  repetition, 
gossip  and  needless  bulk  detract  from  its  readable  interest." 
Reviewed  in  Athenaeum.  Dec.  23,  1899:  874-5. 


16  MODERN    DRAMA 

Scott,  Clement.  Two  dramatic  revolutions.  {See 
Noitli  Aiiicrican  Rev.,  157:  470-84.) 

.1  non-Puritanic  and  violent  attack  on  Ibsen's  Ghosts 
and  the  Si^cond  Mrs.  Tanqueray,  decrying  their  pessimism 
and  irreverence  and  the  "art  that  makes  evil  Rood  upon  the 
stai;  •."    Mr.  Scott  is  dramatic  critic  for  the  Daily  Telegraph. 

Shaw,  George  Bernard.  Dramatic  opinions  and  essays; 
containing  ...  a  word  on  tlic  dramatic  opinions  and 
essays  of  G.  Bernard  Shaw,  by  James  Huneker.  2  v. 
D.    N.  Y..  190G.      Brentano,  S2.50  net. 

Criticisms  of  Ibsen.  Sudermann  and  Rostand  are  scattered 
throuRh  this  collection,  made  up  of  the  papers  contributed 
by  Mr.  Shaw  in  his  capacity  as  dramatic  critic  to  the  Lon- 
don Saturday  Review,  1895-98. 

Strang,  Lewis  C.  Plays  and  players  of  the  last 
quarter  of  a  century.     2v.  D.     N.  Y.  (?),  190.3. 

Concise  sketches  of  the  leading  actors  and  dramatists  and 
their  work.  The  criticism  is  usually  sound,  but  is  from  the 
point  of  view  of  the  stage,  rather  than  of  the  literary  critic. 

Symons,  Arthur.  Plays,  acting  and  music.  D.  N.  Y., 
I'JO;?.      Dutton,  $2  net. 

"Leader  and  follower  of  the  school  of  symbolists,  Mr. 
Symons  with  true  critical  gifts  here  uncovers  the  veil  of  mysti- 
cism that  hangs  about  them."  The  book  is  mainly  concerned 
with  the  continental  drama.  Clearly  defined  individual  views 
about  the  artistic  features  of  the  drama  are  expressed  in 
beautiful  prose. 

Reviewed  in  Saturday  Rev.,  96:  360;  Academy,  Sept.  19, 
11903,  6.5:  261;  .\thenaeum,  Dec,  1903:  762;  Dial,  37:  62. 

Tree,  Herbert  Beerbohm.  Some  aspects  of  the  drama 
of  today.  (See  North  American  Rev.,  Jan.,  1897,  164: 
66-74.) 

.A.  critical  outline  of  the  essentials  of  the  art  of  the  stage. 
Of  value  because  Mr.  Tree  is  himself  an  actor-manager. 

Walkley,  Arthur  Bingham.  Drama  and  life.  331  p.  D. 
N.  Y.,  1908.      Brentano,  $1.75. 

Essays  and  critiques  chiefly  on  recent  dramatists  and  actors 
and  dramatic  technique  reprinted  from  the  Edinburgh  Review 
and  London  Time%. 

Reviewed  in  Forum,  .^pr..  1908,  39:  .5.50-60  and  North 
American  Rev.,  May,  1908,  187:  777,  by  F.  M.  Colby; 
Atheneeum,  Feb.,  1908,  1:  140;  Nation,  May  28,  1908,  86:  496. 

Dramatic  criticism;  three  lectures  delivered  at  the 

Royal  Institution,  Feb..  1903.    125  p.  D.    Lond..  1903. 
Murray,  5s  net. 

These  lectures  on  The  Ideal  Spectator,  The  Dramatic 
Critic,  Old  and  New  Criticism,  dealing  with  stage  criticism 
in  the  main,  are  lucid  and  reliable. 

Playhouse  impressions.    D.    Lond.,  1892.    Unwin. 

o.  p. 

Reprints  from  London  periodicals  on  modern  actors  and 
dramatists  including  Ibsen,  Dumas,  Sardou,  Daudet,  H.  A. 
Jones.  Pinero,  etc.      Readable  and  reliable. 

Wedmore,  Frederick.   Literature  and  the  theatre.    {See 
Nineteenth  Century.  Apr.,  1902,  51:  508-80.) 

Claims  that  the  two  can  be  divorced.     Studies  of  Pinero, 
Becque    and    Horvieu    incidentally    made    in    comparing    the 
English  and  French  stage. 
West,   Kenyon.      Dramatic  criticism.     {See  Era,  July. 
1903,  12:  .39-44.) 

On  the  ideal  dramatic  critic  and  playwright  and  their  re- 
sponsibilities in  interpreting  the  public  taste. 


MODERN    DRAMA  17 

Witkowski,  George.    German  drama  of  the  nineteenth 

century;  authorized  translation  from  the  2d  German 

ed.  by  L.  E.  Horning.  230  p.  D.   N.  Y.,  1909.   Holt,  «1. 

"Nothing  at  the  same  time  so  comprehensive  and  terse  has 

appeared  on  the  subject."     N.  Y.  Times. 

Reviewed  in  Educational  Rev.,  Sept.,  1909,  38:  205;  Forum, 
Sept.,  1909,  42:  282;  Independent,  Sept.  2.J,  1909,  (57:  709. 

Woodbridge,  Elisabeth.     The  drama,  its  laws  and  its 
technique,    l.bl  p.  D.    Bost..  1898.   Allyn,  80c.  net. 

Founded  on  F"rey tag's  Technique  of  the  Drama  adapted  to 
modern  .\merican  use.  Contains  a  good,  short  bibliography. 
A.L.  A.  Catalog.  1904,  p.  181. 


D'ANNUNZIO 

Annunzio,  Gabriele  d'.  Daughter  of  Jorio,  a  pastoral 
tragedy;  tr.  by  Cliarlotte  Porter,  Pietro  Isola  and  Alice 
Henry;  with  an  introduction  by  Miss  Porter.  51+208 
p.  D.     Bost..  1907.    Little,  $1.50. 

Published  also  by  Badger,  Bost.,  1911,  $1.50. 

"Presents  with  intense  human  touches  a  picture  of  patri- 
archal peasant  life."  Bk.  Rev.  Digest. 

Reviewed  in  Outlook,  Jan.  18,  1908,  88:  142;  Review  of 
Reviews,  Feb.,  1908,  37:  255;  Poet-lore,  1908,  19:  111-19,  by 
Pietro  Isola. 

(The)  dead  city:  a  tragedy,  rendered  into  English 

by  G.  Mantellini;  illustrated  from  the  stage  produc- 
tions of  Eleonora  Duse.  282  p.  D.  Chic,  1902. 
Laird,  S1.25. 

"A  sympathetic  and  admirable  translation."    William  Sharp. 

Action  takes  place  in  Greece  on  the  plain  of  Argolis. 
The  play,  a  strange  introduction  of  the  fatality  of  the 
Greek  tragedy  on  the  modern  stage,  has  been  received  with 
almost  equal  praise  and  censure.  Morbid,  vitiated,  gloomy 
and  overwrought  in  description,  it  is  beautiful  in  its  original 
phrasing  and  construction. 

Reviewed  in  Academy,  June  2,  1900,  58:  464-6;  Saturday 
Rev.,  Sept.  22,  1900,  90:  366;  Dial.  Jan.  1,  1903,  34:  8-9,  by  H. 
D.  Sedg\vick,  Jr.;  Critic,  Dec,  1902,  41:  574-5. 

(The)  dream  of  an  autumn  sunset;  tr.  from    the 


Italian  by  Anna  Schenck.     {See  Poet-lore,  Jan.-Mar., 

1904,  15:  6-29.) 

The  setting  of  this  one-act,  one-scene  play  is  picturesquely 
described  "as  a  domain  of  a  patrician  of  Venice,  on  the  bank 
of  the  Brenta."  Lurid,  violent  and  unremittingly  hysterical, 
it  is  the  opposite  extreme  of  the  beautiful  dreaminess  of  his 
Spring  Morning. 


Dream  of  a  spring  morning;  a  play;   tr.  from  the 

Italian  by  Anna    Schenck.     {See  Poet-lore,  1902,  14: 
e-36.) 

A  long,  one-act  play  in  five  scenes.  The  argument  is 
much  the  same  as  that  of  Romeo  and  Juliet,  a  morbid  motive 
of  Isabella's  madness  and  hysterical  passion  worked  out  with 
delicate  and  exquisite  pathos  and  promising  dramatic  possi- 
bilities. 

Francesca    da    Rimini;    tr.    by    Arthur    Symons. 


22.3  p.  D.    N.  Y.,  cl902.    Stokes,  $1. 

In  an  introductory  analysis  the  translator  says.  "This  play 
is  more  than  a  tragedy  of  two  lovers,  it  is  a  study  of  an  age 
of  blood  in  the  13th  century  in  Italy."  The  long,  beautifully 
told  story,  with  its  luxurious  descriptions,  symbolic  color  and 
allusion,  is  developed  with  more  conciseness  and  delicate 
reserve  than  the  author  has  shown  in  any  other  of  his 
dramas  yet  translated. 

Reviewed  in  Kuhns,  L.  O.,  Great  poets  of  Italy,  1903,  p. 
331-9;  Walkley,  A.  B.,  Drama  and  Life,  1908,  p.  255-9; 
Arena,  Feb.,  1908,  39:  144-8,  by  A.  Henderson;  Fortnightly 
Rev.,  Feb.,  1902,  77:  237-46,  bv  Arthur  Symons;  Athenaeum, 
-Apr.  11,  1903,  1:  475;  Dial.  Jan.  1,  1903,  34:  9,  by  H.  D.  Sedg- 
wick, Jr.;  North  American  Rev.,  July,  1902,  175:  17-30.  by 
Mrs.  Edith  Wharton;  Poet-lore,  1908,  19:  111-19,  by  Pietro 
Isola;  Saturday  Rev.,  July  25,  1903,  96:  114. 

18 


D'ANNUNZIO  19 

Annunzio,  Gabriele  d'.  Gioconda;  tr.  by  Arthur 
Synions.    144  p.  U.     X.  Y..  1902.     Russell,  SI. 

Has  bei-'n  received  in  the  Italian  theatres  as  one  of  the 
most  remarkable  plays  of  modern  Italian  drama.  The  author's 
quick  eye  for  all  shades  of  force,  strangeness,  magic  and 
delight,  make  it  a  tragedy  of  great  beauty  and  power.  The 
character  analysis  in  Silvia  reveals  a  strong  woman's  soul. 
The  motive  —  the  contest  between  the  life  of  art  and  the 
everyday  life  of  home  —  is  so  bold  in  treatment  and  develop- 
ment as  not  to  allure  the  average  reader  or  listener.  Its  con- 
structive fault  is  its  excess  of  dialogue  over  movement. 

Reviewed  in  VValkley,  A.  B.,  Drama  and  Life,  1908,  p.  251- 
4;  Academy,  Oct.,  1901,  61:  330-8;  Critic,  Dec,  1902,  41: 
574-5;  Poet-lore,  1908,  19:  111-19,  by  Pietro  Isola. 

Ship   (La  nave).    Bost.,  1909.    Badger.  SI. 25.   o.  p- 

".■\n  awful  theme  is  coldly  imagined,  the  fancy  is  deliberately 
flogged  to  the  verge  of  insane  hallucinations  and  a  magnificent 
rhetoric  offers  itself  as  a  substitute  for  the  more  spontaneous 
and  durable  traits  of  genuine  invention." 

Reviewed  in  Current  Literature,  Apr.,  1908,  44:  420-1; 
Fortnightly  Rev.,  May,  1908,  89:  860-73;  Nation,  Feb.  6, 
1908,  86:  133-4. 

Criticism 

Annunzio,  Gabriele  d'.     Martyrdom  of  St.  Sebastian 

(San  Sebastiano). 

A  mystery  play  written  in  archaic  French  verse  with  music 
by  Debussy.     Produced  in  Paris  in  June.  1911. 

Reviewed  in  N.  Y.  Tribune,  Sunday,  June  4,  1911;  Nation, 
Mar.  2,  1911,  92:  211. 

Cooper,  Frederic  Taber.  Gabriele  d'Annunzio.  {See 
Bookman,  Mar.,   1896,  3:  18-23.) 

A  biographical  and  critical  sketch  without  reference  to  his 
dramas. 

Courtney,  William  Leonard.  D'Annunzio.  {See  his 
Development  of  Maurice  Maeterlinck  and  other 
sketches  of  foreign  writers.     1904.) 

Crawford,  Virginia  M.  Gabriele  d'Annunzio.  {See  her 
Studies  in  foreign  literature.     1899.    p.  1S6-218.) 

De  la  Ramee,  Louise.  Gabriele  d'Annunzio.  {See  her 
Critical  studies.      1900.     p.  1-49.) 

Under  her  pseudonym  "Ouida,"  the  writer  has  also  written 
an  appreciation  of  "The  genius  of  D'.\nnunzio"  which  appeared 
in  the  Fortnightly  Rev.,  Mar.,  1897,  67:  349-73.  A  clear  ex- 
position of  his  mind  and  literary  tendencies. 

Fornaro,  Carlo  de.  D'Annunzio,  the  man.  {See  Critic. 
Aug.,   1904,  4."):   l.'37-41.) 

.\  personal  sketch  with  pictures. 

Fornaro,  Sofia  de.    Italian  writers  of  today.    {See  Critic, 
Aug..  1902.  41:  103-5.) 
Includes  a  sli«ht  characterization  of  D'Annunzio. 

Herrmann,  Oscar.  Living  dramatists:  Pinero,  Ibsen, 
D'Annunzio;  introduction  by  Will  \V.  Massee.  1S7  p. 
O.  N.  Y.,  1905.      Brentano,  S5  net. 

Isola,  Pietro.  Gabriele  D'Annunzio's  dramas.  {See 
Poet-lore.  1908.  19:  111-19.) 

Criticisms  of  Gioconda.  Francesca  da  Rimini  and  Figlia  di 
Jorio. 


20  D'ANNUNZIO 


Italian  poets  of  today.   (See  Quarterly  Rev.,  1902,  196: 

24t)-()S.) 

D'Annunzio's  dramas,  characteristics,  melancholy  and  love 
of  the-  inysterious  are  the  topics  discussed. 

Kuhns,  Levi  Oscar.  The  great  poets  of  Italy,  together 
with  a  brief  connecting  sketch  of  Italian  literature, 
with  portraits.  359  p.  U.  Bost.,  190.3.  Houghton,  S2 
net. 

"Elementary  introduction  to  the  history  of  Italian  litera- 
ture, expanded  from  a  study  of  the  Italian  poets  prepared 
for  Chautauqua  circles."  D'Annunzio  is  considered  in  the 
chapter  on  "Nineteenth  century"  and  particular  study  is 
given  to  "Francesca  da  Rimini." 

Reviewed  in  Dial.  Dec.  1,  1903,  35:  418.  by  W.  M.  Payne. 

Sedgwick,  Henry  Dwight.  D'Annunzio,  poet  and  play- 
wright.     (See  Dial,  Jan.  1,  1903,  .34:  7-10.) 

In  his  volume  of  Essays  on  Great  Writers  Mr.  Sedgwick 
gives  a  longer  and  closer  study  of  "D'Annunzio,  the  novel- 
ist," which  throws  light  on  the  general  style  and  character 
of  the  man. 

Sharp,  'Williani.  The  dramas  of  Gabriele  D'Annunzio. 
[See  Fortnightly  Rev.,  Sept.,  1900,  74:  391-409.) 

Minutely  detailed  and  competent  analysis  of  each  of  his 
dramas  published  prior  to  the  publication  of  the  article. 

Symons,  Arthur.  D'Annunzio.  (See  his  Studies  in 
prose  and  verse.      1904.     p.  129-42.) 

A  significant  work  of  criticism  by  a  judicial  critic.  He 
writes  briefly  but  always  pregnantly. 

Wharton,  Mrs.  Edith.  The  three  Francescas.  (See 
North  American  Rev.,  July,  1902,  175:  17-30.) 

Comparison  of  Phillips,  Crawford  and  D'Annunzio  in  their 
treatment  of  the  same  general  theme. 


HAUPTMANN 

Hauptmann,  Gerhart.  And  Pippa  dances;  a  mystical 
talc  1)1  the  glass-wiirks  in  four  acts,  tr.  by  Marv  Harned. 
Bost.,  1911.  Badger,  SI. 50.  (See  also  Poet-lore, 
1907,  18:289-341.) 

A  study  of  varying  ideals  and  their  effects  on  those  who 
hold  them.  Pippa  the  dancer  typifies  a  different  ideal  to 
each  of  the  group  of  men  who  contest  for  her  and  brings  to 
each  joy  or  sorrow  according  to  his  ideal. 

Reviewed  in  Edinburgh  Rev..  Oct.,  1906,  204:  456-8; 
Independent,  Sept.  20,  1900,  01:  092-3;  Poet-lore,  20:  121- 
8,  Mar.-Apr.,  1909. 

Before    dawn:    a    social    drama,    tr.    by    Leonard 


Bloomfield.    Best.,  1911.     Badger,  SI. 50  net.    {See  also 
Poet-lore,  July-Aug..  1909,  20:  241-313.) 

"Depicts  the  revolting  conditions  among  the  suddenly 
enriched  peasants  of  the  Silesian  coal  districts.  .  .  Alarmist 
theories  of  heredity  .  .  .  are  used  to  the  utmost  as  the  very 
basis  of  the  tragedy."    Pref.  to  translation. 

Coming  of  peace;  a  family  catastrophe;  tr.  by  Janet 


Achurch  and  C.  E.  Wheeler.     125  p.  O.    Lond.,  1900. 
Duckworth,  3s.  6d.  net. 

"Congenial  home  life  is  made  impossible  through  the  dis- 
parity of  education  and  the  consequent  diversity  of  interest. 
The  play  has  little  chance  on  an  English  stage.  It  would  be 
called  lugubrious.     The  translation  is  satisfactory." 

Reviewed  in  Academy,  Nov.,  1900,  59:  460. 

Elga;    tr.    from    the    German    by    Mary    Harned. 


Bost.,    1911.      Badger,  $1.50  net.      (5ee  also  Poet-lore, 
1906,  17:  1-35.) 

A  new  version  of  Grillparzer's  tale  of  "The  Kloster  of 
Sendomir"  —  concerned  with  the  tragedy  of  an  injured  hus- 
band, and  for  the  most  part  cast  in  the  form  of  a  dream. 
There  are  one  or  two  very  good  dramatic  episodes,  but  Haupt- 
mann's  standard  of  best  work  in  naturalistic  drama  is  not 
maintained. 

Scene  from  Gerhart  Hauptmann's  latest  plav  [Elga]. 
{See  Current  Literature.  Sept.,  1905,  39:  318-22.) 

Reviewed  in  .Academy,  Mar.,  1905,  68:  243;  Poet-lore,  1905, 
16:  135-6,  by  P.  H.  Grumman. 


—  Elga;  a  play  in  six  scenes;  and  Pippa  dances;  a 
mystical  plav-  of  the  glass-works  in  four  acts.  Bost., 
1909.     Badger,  S1.25. 

Fuhrmann   Henschel:   a    play   in   five   acts,   tr.   by 

Marion  A.  Redlich.    152  p.    O.  Chic.  1910.    Dramatic 
pub.  CO.,  SI. 25. 

"A  study  in  moral  and  mental  degeneration." 
Reviewed    in    Francke.    Kuno.     German    ideals    of    today. 
Bost.     Houghton,  1907. 

21 


22  HAUPTMANN 


Hauptmann,  Gerhart.  Hannele:  a  dream  poem;  tr. 
from  the  German  bj-  William  Archer.  195  p.  D. 
Lond.,  1894. 

Published  also  by  Heincmann,  Lond.  92  p.  S.  2s  6d' 
also  by  Doubleday.  N.V.,  19(JS.  Ill  p.  D.  $1  (tr.  by  C 
H.  MeUerK  also  by  R.  H.  Badger,  Bost.,  1911.  $1.50 
(tr.  by  G.  S.  Bryan).  (See  also  Poet-lore,  May-June,  1909. 
20:  101-91.) 

Reveals  the  mind  and  soul  of  a  wretched  little  orphan  who, 
just  before  her  death,  lapses  into  a  delirium  in  which  she  sees 
in  fantastic  action  all  the  visions  of  her  unhappy  life  and  her 
■■hlmmelfahrt"  beyond.  By  means  of  a  delicate  art  that 
feels  for  simple  words,  makes  the  emotions  bound,  and  colors 
and  vivifies  all  it  touches,  Hauptmann  carries  us  into  this 
atmosphere  of  dreamland  where  Hannele  is  soaring  and  makes 
us  see  the  same  visions  in  realistic  shape  and  plan.  This  dream 
poem  is  his  most  characteristic  work,  but  has  met  with  no  stage 
success  outside  of  German  theatres. 

Reviewed  in  Literary  world,  1895,  2G:  6;  Critic,  Feb.  10, 
1894,  24:  97,  by  Arthur  Waugh. 

Lonely  lives:   a    drama;  tr.  from  the  German  by- 


Mary  Morison.     17  9  p.  D.    Lond.,  1898.    Heinemann, 
2s.  6d. 

Unmistakably  Ibsenian  in  the  very  close  analogy  it  bears 
to  Rosmersholm;  with  the  same  sets  of  problematic  char- 
acters battling  with  the  same  matters  of  religion  and  science, 
and  the  same  ill-defined  bounds  of  platonic  liberty,  yet  drawn 
in  shapes  that  are  more  human,  true  and  appealing.  The 
psychology  of  the  play  has  little  that  is  convincing.  The  moral 
tells  us  that  we  cannot  lift  ourselves  ethically  above  our  age. 
Some  critics  have  claimed  for  its  simple  plot  the  best  construc- 
tion of  all  modern  stage  plays. 

Reviewed  in  .\thenajum,  Apr  6,  1901,  1:  443;  Critic,  35: 
840;  Dial,  June  1,  1900,  28:  430,  by  E.  E.  Hale.  Jr.;  Spectator. 
Sept.  30.  1893.  71:  437. 


—  Reconciliation,  a  play  in  three  acts,  tr.  by  R.  T. 
House.  Bost.,  1911.  Badger,  S1.50.  (.See  also  Poet- 
lore,  Sept.-Oct.,   1910,  21:  337-90.) 

(The)  sunken  bell,  a  fairy  play  in  five  acts  .  .   .  tr. 


by  C.  H.  Meltzer.  125  p.  D.  N.  Y.,  1902.  R.  H. 
Russell.  Published  also  by  Heinemann.  Lond..  4s 
net;  also  (with  music  by  Aime  Lachaume)  bj^  Double- 
day,  N.  Y..  1908.  180  p.  11.  $1;  also  by  R.  H.  Badger. 
Bost.,  1911.     S5  net. 

A  perfect  fairy-drama  that  might  delight  a  child.  The 
same  art  that  in  Hannele  blended  the  real  with  the  ideal,  the 
natural  with  the  supernatural,  the  physical  with  the  spiritual, 
is  here  even  more  highly  idealized. 

Its  fancies  and  images  spring  from  primitive  nature,  whose 
woodland  elves,  sprites  and  fairies  appear  in  every  shape  of 
subtle  charm  and  weirdest  mystery.  Heinrich,  the  bell- 
founder,  is  a  mediaeval  mystic,  who  is  striving  to  satisfy  his 
restless  soul  with  an  artistic  ideal  of  real  worth  and  purity. 
These  fairy  figures  stand  for  the  influences  of  nature  that 
seek  to  drag  the  artist-man  down  from  the  heights  to  the 
level  of  his  lower  instincts.  A  masterpiece  that  shows  all 
of  Hauptmann's  many  tendencies  in  dramatic  art,  as  beautiful 
to  see  as  it  is  to  read. 

Reviewed  in  Francke,  Kuno,  Glimpses  of  modern  German 
culture.  1898.  p.  85-97;  Spectator,  Apr.,  1900.  84:  602;  Dial, 
June  1,  1900,  28:  430,  by  E.  E.  Hale,  Jr.;  Academy,  May, 
1900,  58:  448;  Athenaeum,  Feb.  21,  1903,  121:  252. 


HAUPTMANN  23 


Hauptmann,  Gerhart.  (The)  weavers,  a  drama  of 
ihtj  forties;  tr.  from  the  German  by  Mary  Morison. 
14«  p.  D.  Lond.,  1S99.  Heinemann.  2s.  6d.  Pub- 
lished also  by  Huebsch,  N.Y.   1911.     SI   net. 

The  autfior  here  takes  as  his  theme  the  rebellion  of  the 
Silesian  flax-weavers  in  1860.  Their  hungry  eyes,  bowed 
necks  and  wretched  want  are  pictured  with  keenest  pathos 
and  unrelieved  gloom  of  the  sort  that  makes  this  play  a  re- 
markable judgment  of  man's  cruelty  to  his  fellow-beings. 
Hauptmann's  characteristic  failure  to  work  out  logically  the 
reformer's  ideas  that  he  can  set  forth  dramatically  with  such 
brilliant  effects  is  to  be  deplored.  Technically  the  play  lacks 
continuity  of  scene,  and  has  no  hero  or  spokesman  other  than 
as  one  exists  abstractly  in  the  hunger  of  the  masses. 

Reviewed  in  Critic,  Sept.,  1899,  35:  839;  Dial.  June  1,  1900, 
28:  4.32.  by  E.  E.  Hale,  Jr.:  Spectator,  Sept.  30.  1893,  71 :  43G-7. 


Criticism 

(Der)  arme  Heinrich.    (See  Poet-lore,  16:  145-8.) 

Brief  outline  of  Hauptmann's  play  based  on  Hartmann  von 
.•\lt'e's  work  of  the  same  name  but  original  in  treatment. 

Barker,  Thomas  Stockham.  Gerhart  Hauptmann  and 
his  work.      (See  Critic,  Mar.,  1S99,  34:  225-31.) 

An  unfavorable  review  of  the  only  single  biography  of 
Hauptmann  yet  published:  "Gerhart  Hauptmann,  sein  Lebens- 
gang  und  seine  Dichtung,"  by  Paul  Schlenther,  published 
in  Berlin  in  1898.  Amounts  to  a  general  sketch  of  Haupt- 
mann and  a  criticism  of  his  plays. 

Coar,  J.  Firman.  Three  contemporary  German  drama- 
tists.    (See  Atlantic  Mo.,  Jan.,  1898,  81:  71-80.) 

.A.  criticism  of  Wildenbruch,   Sudermann    and    Hauptmann. 
The  latter  is  enthusiastically  viewed  as  the   artist-poet  who 
wrote  the  Sunken  Bell. 
Francke,    Kuno.      Gerhart    Hauptmann's    Der    arme 
Huinrich.      (See  his  German    ideals    of   today.     1907. 
p.  282-93.) 
See  also  (Der)  arme  Heinrich  above. 

Gerhart   Hauptmann's  Michael  Kramer.     (See  his 

German  ideals  of  today.      1907.     p.  275-82.) 

Gerhart  Hauptmann.     (See    Warner's  library  of  the 
world's  best  literature,  17:  7025-40.) 
A  general  sketch  with  an  extract  from  Hannele. 

Grummann,  Paul  H.  Gerhart  Hauptmann's  dramas 
from  the  Sunken  bell  to  Pippa.  (See  Poet-lore, 
July-Aug.,   1910,  21:  285-99.) 

Brief  characterizations  of  Sunken  bell.  Teamster  Henschel, 
Schluck  und  Jau,  Michael  Kramer,  Red  Cock,  Der  .Arme  Hein- 
rich, Rosa  Bernd,  Elga. 

Recent  German  criticism  comprising   Bulthaupt's 

interpretation  of  Hauptmann.     (See  Poet-iore,   1905, 

16:  117-26.)  .  ^    „   , 

A  reply   to  a   criticism  of   Hauptmann   in   Heinnch    Bult- 
haupt's "Dramaturgie  des  Schauspiels",  1902. 
Guthrie,    William     Norton.        Gerhart   Hauptmann. 
(See  Sewanee  Rev.,  May,  1895,  3:  278-89.) 

A  well  written  appreciation  with  some  sane  comparisons 
of  Hauptmann  with  other  dramatists. 

Hale,  Edward  Everett,  Jr.     [Charlemagne's    hostage.) 
(See  his  Dramatists  of  to-day.    1905.    p.  37-61.) 
Reviewed  also  in  Current  Literature,  .\pr..  1908,  44:  421-2. 


24  HAUPTMANN 


Heller,  Otto.  Studies  in  modern  German  literature: 
Suderniann.  Hauptniann;  women  writers  of  the  19th 
century.    301  p.  D.    Bost.,  1905.    Ginn.  S1.25. 

Distinctly  popular  essays  indicating  in  a  way  adapted  to 
readers  who  have  little  first-hand  information,  the  chief 
aspects  of  the  work  of  Hauptmann  and  Sudermann  and 
some  minor  women  writers.  The  critic  while  not  great  ia 
always  sensible  and  genuinely  interested  and  interesting. 
He  shows  his  high  estimate  of  the  two  great  dramatists  in 
an  unduly  favorable  and  somewhat  too  detailed  analysis  of 
their  plays,  arranged  in  chronological  order. 

Reviewed  in  Athena?um,  Nov.  18,  1905,  2:  685;  Poet-lore, 
Sept.,  1905.  Iti:  127-S. 

Henderson,  Archibald.  Gerhart  Hauptmann;  social 
idealist.      (See  Arena,  Mar.,  1905,  33:  251-7.) 

The  social  reformer  as  seen  in  his  four  greatest  plays.  Clear 
and  well-outlined. 

Lee,  Elizabeth.  German  drama  of  today.  {See  Living 
Age,  234:  15G-6G.) 

A  clear  indication  of  the  character  and  tendencies  of  the 
modern  drama  as  shown  in  Hauptmann  and  Sudermann. 

Marshall,  Beatrice.  Gerhart  Hauptmann.  {See  Fort- 
nightly Rev.,  Sept.,  1901,  76:  459-81.) 

.\  review  and  an  abstract  of  Dr.  Schlenther's  biography  of 
Hauptmann.  See  also  Barker,  T.  S.,  Gerhart  Hauptmann  and 
his   Work. 

Meyer,  Edward  Stockton.     Modern  German  drama. 

{See  Critic,  July,  1905,  47:  61-70.) 

Treats  of  the  German  naturalistic  movement  as  developed 
by  Hauptmann  and  Sudermann. 

Muller,  Margarethe.  Gerhart  Hauptmann.  (5ee  Atlan- 
tic Mo.,  Sept.,  1900,  86:  .368-77.) 

Nordau,  Max.  [Gerhart  Hauptmann,  his  writings  thus 
far.]    {See  his  Degeneration.    1895.    p.  523-30,  547.) 

Shows  the  author's  characteristic  intemperance  and  violence 
toward  the  "naturalistic  school".  Interesting  as  an  adverse 
opinion  rather  than  valuable  as  a  criticism. 

Plays  of  Gerhart  Hauptmann.  {See  Living  Age, 
Sept.,  1903,  238:  711-26.) 

Also  published  in  Quarterly  Rev.,  191:  317-36.  A  review 
of  a  collection  of  Hauptmann's  German  plays,  with  a  brief 
analysis  of  each. 

Puzzle  of  Gerhart  Hauptniann.  {See  Current  Liter- 
ature,   May,  1909,  46:  543-4.) 

Review  and  criticism  of  Hauptmann's  Griselda. 

Steiner,  Edward  A.  Two  German  dramatists.  {See  Out- 
look, Jan.  5,  1901,  67:  74-7.) 

Based  on  personal  visits  to  Hauptmann  and  Sudermann 
and  condensed  into  a  brief  analysis  of  a  few  stage  plays. 

Stoeckius,  Alfred.  Naturalism  in  the  recent  German 
drama  with  special  reference  to  Hauptmann.  36  p. 
O.      Columbia  Univ.,  N.  Y.,  1903. 

A  thesis  presented  for  the  degree  of  Doctor  of  Philosophy, 
at  Columbia  University,  containing  a  valuable  bibliography 
of  German  titles  and  a  chronological  list  of  Hauptmann's 
works.     Of  special  interest  to  students. 

Witkowski,  Georg.  Gerhart  Hauptmann.  {See  his 
German  drama  of  the  nineteenth  century.  1910.  p. 
187-202.) 

Brief  sketch  of  Hauptmann's  development  as  a  dramatist 
with  brief  analysis  of  Before  sunrise,  Friedensfest,  Einsame 
menschen  (Lonely  lives).  Die  Weber  (the  Weavers),  Florian 
Geyer,  Hannele,  Der  Biberpelz,  Fuhrmann  Henschel,  Rosa 
Bernd,  etc. 


IBSEN 

Ibsen,  Henrik.    Works;  rev.  and  ed.  by  William  Archer 
11  V.  D.    N.  Y..  1906-08.     Scribner, -SI  each. 
Contents:  — 

V.    1.  Feast  at  Solhaug;   Lady   Inger  of  Ostrat;   Love's 
comedy. 

2.  The  Vikings  at  Helgeland;  The  pretenders. 

3.  Brand. 

4.  Peer  Gynt. 

5.  Emperor  and  Galilean. 

6.  League  of  youth;  Pillars  of  society. 

7.  Doll's  house;  Ghosts. 

8.  Enemy  of  the  people;  The  wild  duck. 

9.  Rosmersholm;  The  lady  from  the  sea. 

10.  Hedda  Gabler;  The  master  builder. 

11.  Little    Eyolf;   John   Gabriel    Borkman;    When   we 

dead  awaken. 

The  recognized  definitive  collection  in  English.  The  intro- 
duction to  each  play  throws  valuable  light  both  on  the  playg 
and  their  author.  These  introductions  taken  together  form 
a  pretty  complete  review  of  Ibsen's  life  and  art.  "The  vol- 
umes of  this  set  are  sold  separately.  Separate  editions  of  in- 
dividual plays  are  given  under  the  particular  titles  of  the 
plays. 

Letters;  tr.  by  J.  N.  Laurvik  and  Mary  Morison. 

456  p.  O.     N.  Y.,  1905.     Fox.  $2.50  net. 

Included  here  as  containing  much  interesting  matter  re- 
lating to  Ibsen's  dramas. 

Reviewed  in  Bookman,  Jan..  1907.  24:  477;  Fortnightly  Rev., 
Mar.,  1905,  83:  428-41 ;  International  Quar.,  Jan..  1905, 10:  201- 
77;  Dial, Dec,  1905.  39:  429-32;  Nation,  Mar.,  1906,  82:  243^. 


Speeches  and  new  letters;  authorized  translation 

by  Arne  Kildal  with  an  introd.  by  L.  M.  Hollander 
and  a  bibliographical  appendix.  O.  Bost.,  1910. 
Badger,  S.3. 

Most  of  the  material  is  here  first  translated  into  English.  The 
bibliography  is  comprehensive  and  of  decided  value  to  students 
of  Ibsen. 

Brand;  a  dramatic  poem  in  5  acts. 

Published  also  by  Scribner.  288  p.  D.  $2.50.  N.  Y.,  1894. 
Tr.  in  the  original  metres  by  C.  H.  Herford. 

Shows  Ibsen  on  his  highest  plane  of  dramatic  work.  It  is 
an  unsparing  scourge  of  Norway's  half-heartedness  in  its  pur- 
suit of  national  and  Christian  ideals.  While  so  intensely 
national  it  also  has  universal  application  in  that  it  advocates 
self-realization  regardless  of  the  sacrifice  involved.  The  lan- 
guage and  thought  are  stern  and  solemn,  symbolic  and  impres- 
sive. 

Reviewed  in  .Arena.  Dec,  1890,  3:  81-90,  by  W.  L.  Cross; 
Contcmporarv  Rev..  Mar..  1891.  59:  407-22.  by  C.  H.  Her- 
ford; Fortnightly  Rev.,  .Aug.,  1899.  72:  227-.39.  bv  M.  A. 
Stobart;  Dial.  .Apr.  10,  1894,  lO:  236-40,  by  W.  H.  Payne; 
Atlantic  Mo.,  Dec,  1890,  66:  856. 

25 


26  IBSEN 


Ibsen,  Henrik.     (A)  Doll's  house. 

A  moral  essay  calling  for  more  cQuality  in  marriage.  Nora, 
who  furnishes  the  example  of  the  customary  sacrifice  of  woman's 
individuality,  is  one  of  the  most  distinctive  of  Ibsen's  char- 
acters. 

The  plot  has  evidently  been  seized  for  the  mere  joy  of  its 
adaptability  for  a  dramatic  picture  and  for  the  play  it  has 
given  the  artist  in  painting  each  person  in  his  own  individ- 
uality. Considered  otherwise  there  is  little  excuse  for  a 
problem  so  impossible  and  for  whose  evils  there  is  agreed  to 
be  little  remedy. 

"In  the  matter  of  technique,  a  Doll's  house  marks  a  turn- 
ing-point in  the  history  of  European  drama."     R.  F.  Sharp. 

Reviewed  in  Saturday  Rev.,  May  15, 1897,  83:  539-41,  by  G. 
B.  Shaw. 

Published  also  separately  (tr.  by  H.  L.  Menchen)  by  J.  W. 
Luce.     Bost.,  190S.     75  c. 

(A)   doll's  house;  the  Wild  duck;  the  Lady  from 


the  sea;  with  an  introd.  by  R.  Farquharson  Sharp. 
300  p.  S.  N.  Y..  1910.  Dutton.  35  c.  (Everyman's 
Library.) 

(.4)  Doll's  house  and  Ihe  Wild  duck  tr.  by  Sharp;  Lady  from 
the  sea  by  Mrs.  Marx-.Aveling.  Includes  list  of  English  trans- 
lations of  Ibsen's  dramas. 

Emperor  and  Galilean. 


His  largest  work,  consisting  of  two  five-act  epic-dramas, 
"Caesar's  Apostasy  "  and  "Emperor  Julian."  Boyesen  says, 
"It  is  looser  in  construction  than  any  subsequent  dramas  and 
is  occasionally  even  a  trifle  prolix  in  its  discussions.  More- 
over, the  wealth  of  philosophic  thought  keeps  both  critics 
and  the  public  much  in  the  dark  as  to  its  real  meaning." 

Enemy  of  the  people. 


Published  also  by  W.  H.  Baker,  Bost.,  under  title  Enemy  of 
society,    paper.    25  c. 

The  hero,  Dr.  Stockholm,  simply  tells  the  truth  he  has 
discovered  in  regard  to  the  corruption  of  some  mineral  waters 
that  have  brought  visitors  and  prosperity  to  a  little  town  in 
Norway.  "The  strongest  man  is  he  who  stands  most  alone" 
is  a  quotation  which  reveals  Ibsen's  opinion  that  civilization 
is  a  detriment  to  individual  character.  The  drama  is  clever, 
powerful  and  impressive,  and  has  found  much  favor  on  the 
stage. 

Reviewed  in  Athenaeum,  Apr.  5,  1902,  1 :  444. 

Feast  at  Solhaug. 


A  short,  historical  drama,  one  of  Ibsen's  early  works.  "The 
theme  is  fate's  disentanglement  of  a  young  knight  from  the 
net  wound  round  him  by  the  first  fancy  he  has  aroused  in  a 
woman's  heart.  .  .  .  The  play  is  young,  it  affects  the  senses 
like  youthful,  emotional  music  and  youthful  experiences  must 
lie  behind  it."    Brandes'  "Ibsen,"  p.  92-3. 

Ghosts. 


Published  also  by  W.  H.  Baker.   Bost.   paper.  25c. 

Anatole  France  says,  "If  the  will  of  those  who  are  no  more 
is  to  be  imposed  upon  those  who  still  are,  it  is  the  dead  who 
live,  and  the  live  men  who  become  the  dead  ones."  Such  an 
idea  of  heredity  is  the  motive  of  this  painfully  wrought  and 
intensely  revolutionary  play.  It  is  significant  in  the  way  it 
preserves  the  unity  of  time,  concentrating  into  a  single  day 
the  culminating  point  of  an  action  that  has  been  going  on  for 
years. 

Reviewed  in  Moore,  George,  Impressions  and  Opinions, 
1891,  p.  215-26;  Poet-lore,  0:  356;  Saturday  Rev.,  July  3, 
1897;  84:  12-14,  by  G.  B.  Shaw;  Athenaeum.  Apr.  5,  1902, 
1:  444,  by  N.  Hapgood;  Nation,  Feb.  10,  1887,  44:  116-17. 


IBSEN  27 


Ibsen,  Henrik.     Hedda  Gabler. 

Published  also  by  W.  H.  Baker.  Bost.  oOc.  Also  (tr.  by 
Edmund  Gosse)  by  U.  S.  Bk.  Co.,  X.  Y.  1891.     272  p.  D.  $1. 

Amid  the  wealth  of  symbolism  in  this  play  whose  every 
line  has  a  subtle  significance,  Ibsen  symbolizes  his  own  gloomy 
style  in  the  action  of  Hedda  when  she  has  the  curtain  drawn 
to  exclude  the  sunliRht.  It  is  the  sunless  side  of  things  that 
one  sees  in  this  as  in  all  his  plays.  The  plot  develops  with 
precision  and  force  while  the  characters  pursue  their  destinies 
in  such  wise  as  might  the  eyeless  fish  in  a  subterranean  cavern. 

Reviewed  in  VValkley,  A.  B.,  Playhouse  impressions.  1S92, 
p.  59-C3;  Fortnightly  Rev.,  Jan.,  1891.  55:  4-13,  by  Edmund 
Gosse;  Fortnightly  Rev.,  Mar.,  1908,  89:  565-7,  by  C. 
Smedley. 

John  Gabriel  Borkman. 

Published  also  by  Stone  &  Kimball.  198  p.  D.  N.  Y..  1897. 
SI. 50.  (Green  tree  library.)  Tr.  by  William  Archer.  Also  by 
Duffield.    N.  Y.,  1907.   $1.50. 

Mr.  Huneker  speaks  of  the  simple,  logical  structure,  the 
unflinching  criticism  of  life  and  the  perfection  of  the  character 
drawing  and  dialogue. 

Reviewed  in  National  Mag.,  8:  120;  Poet-lore,  9:  302-6; 
11:  116;  Saturday  Rev..  82:  G54. 

Lady  from  the  sea. 


Published  also  by  W.  H.  Baker.  Bost.  paper.  2.5c.  Also  (tr. 
by  Mrs.  E.  Marx-Aveling)  by  E.  P.  Button.  N.  Y.  1910.  S. 
35c.    (Everyman's  library.) 

In  spite  of  its  obscure  symbolism  this  drama  is  full  of  the 
most  poetic  fancy.  It  deals  with  the  old  theme  that  only 
through  law  are  won  the  ideals,  freedom  and  happiness,  a 
theme  developed  in  the  main  by  the  use  of  most  commonplace 
and  vulgar  actualities. 

"A  mi.xture  of  psychology  and  poetic  fancy  surrounding  one 
of  Ibsen's  haunting  principles  —  that  an  action  is  only  valu- 
able and  reasonable  if  it  be  the  spontaneous  outcome  of  the 
individual  will.  .  .  .  The  theme  of  the  play  ...  is  the  psy- 
chological development  of  an  idle  woman  who  has  nothing 
particular  to  occupy  her  life.     R.  F.  Sharp. 

Reviewed  in  Walkley.  A.  B.,  Playhouse  impressions.  1892. 
p.   59-63;  Westminster  Rev.,  July,  1902,  1.5S:  10.5-6. 

Lady  Inger  of  Ostrat. 


An  historic  melodrama  with  a  gloomy  castle,  spectral 
pictures  and  secret  passages  that  make  a  setting  distinctly 
Maeterlinckian.  There  are  in  addition  shifting  conspiracies, 
distorted  characters  and  constant  mystery.  The  outworn 
expedient  of  much  soliloquy  to  convey  information  is  here 
used  to  an  excess  that  we  find  in  a  few  of  his  social  dramas. 
An  improbable  plot  but  an  actable  play,  produced  in  1855. 


League  of  youth. 


Published  also  by  W.  H.  Baker.  Bost.,  1900.  paper.  25  c. 
under  title  Young  men's  league,  tr.  by  Henry  Carstarphen. 

The  stinging  satire  upon  democracy  interests  American 
readers.  Ibsen's  feelings,  though  here  they  are  rarely  well 
moderated,  are  clearly  cast  with  the  figure  Bratsberg,  who, 
in  league  with  the  past,  looks  askance  upon  the  struggles  and 
motives  of  Norway's  political  parties.  The  play  excels  in 
easy  dialogue  and  the  grasp  the  author  has  upon  the  several 
characters. 

Little  Eyolf. 

Published  also  by  Stone  &  Kimball.  164  p.  D.  Chic,  1894. 
(Green  tree  library.)  Tr.  by  William  .Archer.  .Mso  by  J.  W. 
Luce.    Bost.,  1908.   75  c.   Tr.  by  H.  L.  Menchen. 

Represents  the  spectacle  of  a  handful  of  people  all  makmg 
the  worst  of  everything.  Ibsen's  characteristic  use  of  sug- 
gestion is  here  carried  to  an  extreme,  but  it  contributes  to 
the  strong  atmospheric  effect  which  is  the  most  marked  fea- 
ture of  the  play.     Mystery  and  the  secret  ways  of  fate  form 


28  IBSEN 

the  aesthetic  basis  of  the  theme,  and  the  difficult  feat  is  accom- 
plished of  presenting  horror  in  the  sunshine.  A  loveless  mar- 
riage IS  the  problem. 

Reviewed  in  Stevens,  G.  \V..  Things  Seen;  Fortnightly 
Rev.,  63:  277-84.  by  \V.  L.  Courtney;  Saturday  Rev.,  1896, 
,.T  i'i'3-  *^-^'  by  G.  B.  Shaw;  Dial,  Jan.  1,  1S95,  18:  5-6,  by 
W.  M.  Payne;  Dublin  Rev.,  Jan.,  1895.  120:  112-25,  by  A.  S. 
Spender. 

Ibsen,  Henrik.     Love's  comedy. 

I'ublislurd  also  by  Scribner,  N.  Y.,  1900.  $1.40.  Tr.  by  C. 
H.  Ilerford.  William  Archer  and  Edmund  Gosse. 

T'if  .^'^^'"'^.  '*  '^''i  '"  a  fashionable  pension  in  the  suburbs 
of  Christiania.  The  theme  is  a  defense  of  rational  marriage 
as  opposed  to  a  marriage  of  inclination.  This  first  of  the 
fv  ^'''^^^  satiric  dramas  in  verse  has  much  lyrical  beauty 
and  force,  but  slight  dramatic  interest,  due  to  its  burden  of 
P"''osophy  and  the  tedious  movement.  George  Brandes 
and  P.  H.  Wicksteed  among  critics  have  each  met  its  puzzles 
m  mterestmg  argument.  This  is  a  brilliant  translation  to 
which  IS  added  a  valuable  critical  estimate. 

Reviewed  in  Athenaeum.  June  16,  1900,  1:  762-3;  Academy, 
June  23.  1900,  58:  527-8;  Fortnightly  Rev.,  Feb.,  1900.  73: 
191-9.  by  C.  H.  Herford;  Fortnightly  Rev.,  Jan.,  1873,  19: 
<'-88,  by  Edmund  Gosse. 

(The)  master  builder;  a  play  in  three  acts. 

Published  also  by  Heincmann    (new  ed.)    250  p.    D.  Lond., 

1893.  2s.  6d.  Tr.  by  E.  W.  Gosse  and  William  Archer.  Also 
by  W.  H.  Baker.    Bost.,  50c. 

Brandes  writes,  "This  is  a  play  that  echoes  and  re-echoes 
m  our  mmds  long  after  we  have  read  it.  .  .  .  Great  is  its  art, 
profound  and  rich  is  its  symbolic  language.  .  .  .  Ibsen's  in- 
tention is  to  give  us  by  means  of  real  characters,  but  in  half- 
allegoncal  form,  the  tragedy  of  a  great  ambitious  artist  whose 
ideals  can  never  be  realized  even  though  he  is  successful." 

Reviewed  in  Arena.  Feb.,  1908,  39:  160-5,  by  M.  Mailly; 
Poet-lore,  1902,  12:  95;  Saturday  Rev.,  Mar.  4,  1893,  75: 
241;  Spectator,  Mar.  4,  1893,  70:  285. 

Peer  Gynt. 

A  masterpiece  of  poetic  drama;  a  piece  of  world-literature 
into  whose  lines  one  can  read  new  and  ever  new  meanings, 
and  even  his  own  meanings  that  please  him  best. 

The  typical  Norseman  is  satirized  in  the  hero,  a  man  of 
dreams  and  idle  in  action;  a  cynically  indifferent,  selfish 
ne  er-do-weel,  who,  like  Brand,  pursues  a  motto  "to  be  him- 
self," but  does  it  in  contrast  by  giving  Self  its  wildest  satis- 
faction. The  heroine,  Solveig,  drawn  in  perfect  antithesis 
to  the  hero,  is  most  appealing.  Prominent  critics  disagree 
as  to  whether  the  ethical  problem  has  or  has  not  been  solved 
in  the  romantic  ending.  Peer  Gynt's  own  lively  wit  and 
imagination  add  charm  and  distinct  vitality. 

Reviewed  in  Couch,  A.  T.  Quiller-,  Adventures  in  Criti- 
cism. 1896,  p.  283-96;  Saturday  Rev..  Sept.  19,  1S96,  82:  321; 
Contemporary  Rev.,  56:  274,  by  P.  H.  Wicksteed;  Book- 
man, 3:  535.     Poet-lore.  1907,  18:  383-92,  by  Jane  D.  Stone. 

Pillars  of  society. 


Published  also  by  W.  H.  Baker.   Bost.   paper.   25c. 

-An  attack  upon  the  hypocrisy  and  snobbishness  of  Consul 
Bernick,  local  magnate  of  a  provincial  Norwegian  town.  He 
may  be  said  to  typify  the  merchant-class  supporters  of  a 
comrnunity,  who  are  lined  up  like  whited  sepulchres.  "The 
plot  is  sirnple  and  the  art  grim,  yet  there  is  dramatic  interest 
in  the  swift  action,  biting  sarcasm  and  skilful  grouping  of 
mcidents. 

Reviewed  in  Saturday  Rev.,  May  18,  1901,  91:  631,  by  M. 
Beerbohm. 


IBSEN  29 


Ibsen,  Henrik.     The  Pretenders. 

The  theme  is  the  struggle  for  the  vacant  throne  of  Sverre 
in  the  romantic  epoch  of  the  thirteenth  century  in  Xorwegian 
history.  Boyesen  calls  it  "highly  impressive  as  an  acting 
drama;  written  with  true  dramatic  instinct  which  concentrates 
the  action  and  dispenses  with  all  superfluous  dialogue.  It 
shows  Ibsen's  familiarity  with  the  stage  both  as  stage  manager 
and  artistic  director." 

Rosmersholm. 


Published  also  by  W.  H.  Baker.  Bost.  paper.  25c.  Tr.  by 
M.  Carmichael. 

Several  characters  of  the  savage,  free,  northern  type  dreamily 
aspire  to  moral  liberty.  The  subtle  psychology  of  the  problem 
enshrouds  the  reader  with  perplexity.  So  slight  are  the  inci- 
dents and  details  and  so  bare  the  chance  of  an  actor's 
right  interpretation  of  such  strangely  real  and  unreal  people 
that  the  drama  may  well  be  reserved  for  mere  closet  reading. 

Reviewed  in  Walkely,  .^.  B.,  Playhouse  impressions.  1892. 
p.  53-8;  Nation,  Mar.  12,  1891,52:  216-17.  by  E.  R.  Pennell; 
Saturday  Rev.,  Feb.  28,  1891,  71:  258. 

Vikings  at  Helgeland. 

The  character  of  the  author's  earlier  work  is  to  be  noted 
in.  this  saga-like  drama.  Romance,  blood,  fate  and  tragic 
pathos  move  its  legendary  though  life-like  characters. 

Reviewed  in  Athenaeum,  Apr.  25,  1903.  121:  539-40. 

When  we  dead  awaken;  a  dramatic  epilogue   in 

3  acts. 

Published  also  by  Stone  &  Kimball.  157  p.  D.  Chic,  1900. 
(Green  tree  library.)    Tr.  by  William  Archer. 

This  last  of  Ibsen's  great  prose  dramas  has  a  familiar  motive 
closely  related  to  the  artist's  career  in  The  Master  Builder 
"Life  without  love,  even  the  most  artistic,  is  to  be  counted  as 
death,"  and  about  the  sculptor  Rubek  is  drawn  a  drastic  pic- 
ture of  the  kind  of  death  that  life  without  love  assuredly  is. 
A  play  of  engaging  interest  and  masterly  work.  Better  for 
reading  than  for  acting. 

Reviewed  in  Fortnightly  Rev..  Apr.,  1900,  73:  575-90,  by  J. 
A.  Joyce;  Academy,  Apr.  14,  1900,  58:  307-8;  Nation,  Feb.  1. 
1900.70:94,  by  W.  M.  Payne;  Athenaeum,  Apr.  7.  1900,  1:442; 
Poet-lore,  May-June,  1909.  20:  201-17.  by  T.  B.  Thompson. 

(The)  wild  duck. 

Published  also  by  W.  H.  Baker.  Bost.  paper.  25c.  Tr.  by  E. 
M.  Aveling.  Also  (tr.  by  R.  F.  Sharp)  by  E.  P.  Dutton. 
N.  Y.,  1910.  35c.   (Everyman's  library.) 

This  wild  drake  kept  in  a  garret  in  a  tamed  state  is  the 
image  of  a  man  born  to  liberty,  but  condemned  by  accidents 
of  civilization  and  the  acquired  weakness  of  his  nature  to  live 
in  servitude  and  darkness.  Considered  dramatically  there 
is  masterly  character  drawing,  but  an  unhappy  mixture  of 
satire  and  tragedy  as  well  as  a  lack  of  skill  in  effecting  cli- 
maxes. 

"In  technical  skill  the  play  is  his  masterpiece;  indeed,  it 
would  be  difficult  to  name  any  modern  drama  that  is  its 
superior  in  construction,  characterization,  and  absolute 
naturalness  and  aptness  of  dialogue.  .  .  .  The  only  weak  point 
in  the  play  lies  in  the  'symbolism'  of  the  Wild  Duck  itself." 
R.  F.  Sharp. 

Criticism 

Archer,  William.  From  Ibsen's  workshop;  the  genesis 
of  his  dramas.  {See  F"ortnightIv  Rev.,  Dec.  1909.  92: 
976-92.     Same  in  Forum.  Dec.',  1909.  42:  506-22.) 

Ibsen  and  English  criticism.   {See  Fortnightly  Rev., 

July.  1889,  52:  30-7.) 

Ibsen's  notable  translator  here  discusses  whether  or  not 
his  plays  will  ever  find  a  permanent  place  on  the  English 
stage. 


30  IBSEN 


Archer,  William.     (The)  real  Ibsen.    {See  International 

Ml...   Feb..    1901,  3:  1S2-201.) 

A  biographical  sketch  of  real  value,  with  incidental  com- 
ments on  the  beauty  of  Ibsen's  verse  in  the  original  tongue. 

Bjorkman,  E.    Ibsen  as  he  should  be  read.   N.  Y..  1907. 

Motiatt.  sl.20. 

Boyesen,  Hjalmar  Hjorth.  (A)  Commentary  on  the 
works  of  Henrik  Ibsen.  317  p.  D.  Lond.,  1894.  Heine- 
mann,  7s.  6d.  net. 

This  distinguished  Scandinavian  critic  has  compressed  in 
a  notable  introduction  and  several  chapters  the  pith  of  Ibsen's 
social  ideas.  His  analysis  is  chiefly  distinguished  by  a  happy 
mixture  of  quick  perception,  generous  appreciation  and  good 
common  sense.  The  style  is  easy  and  vivid,  but  shows  evi- 
dence of  hurried  construction  and  examples  of  poor  trans- 
lation. 

Reviewed  in  Dial,  Apr.,  1894,  16:  236,  by  W.  M.  Payne; 
Academy,  .Apr..  1894,  286;  Spectator,  May,  1894,  72:  652; 
Saturday  Rev.,  78:  3.J9;  Critic.  2,"):  119. 

Brandes,  Georg  Moritz  Cohen.  Henrik  Ibsen.  {See 
his  Eminent  authors  of  the  19th  century.  1886;  p. 
405-60.) 

"A  masterful  analysis,  worth  everything  else  that  has  been 
written  in  English  concerning  Ibsen."      Nation. 

Brandes  is  a  profound  admirer  of  Ibsen  as  well  as  an  ardent 
advocate  of  the  modern  spirit  for  which  Ibsen  stands. 

Henrik     Ibsen;     Bjornstjerne     Bjornson;     critical 

studies.    171  p.  O.    N.  Y.,  1899.    Macmillan,  $2.25. 

Reviewed  in  .'Academy,  July,  1899,  57:  79-80;  .'Kthenaeum, 
Aug.,  1899,  2:  202;  Spectator,  July,  1899,  83:  25;  Nation, 
69:  340;  Dial,  Nov.,  1899,  27:  314,  by  W.  M.  Payne. 

Brochner,  Jessie.  Henrik  Ibsen.  {See  Bookman,  Oct., 
1903,  18:  180-9.) 

Presents  the  personal  side  of  Ibsen.  Of  value  for  its  5  or 
6  illustrations. 

Butler,  A.  Maynard.  View  of  Ibsen.  {See  Contem- 
porary Rev.,  May,  1902,  81:  709-19.) 

Attempts  to  define  Ibsen's  present  status  and  gives  brief 
comments  on  each  play. 

Crawfurd,  Os'wald.  The  Ibsen  question.  {See  Fort- 
nighty  Rev.,  May,  1891,  55:  723-40.) 

The  question  is  popularly  covered,  giving  the  Ibsen  point  of 
view,  a  sketch  of  his  life  and  short  ethical  interpretations  of 
the  plays. 

Ellis,  Havelock.  Ibsen.  {See  his  The  new  spirit.  Ed.  3. 
1892.     p.  133-73.) 

Ender,  A.  von.     Henrik  Ibsen  and  the  women  of  his 
dramas.   {See  Theatre,  Aug.,  1909,  10:  48-54,  new  ser.) 
Discusses  the  dramatic   rather  than  the  literary  significance 
of  several  of  Ibsen's  chief  creations. 

Evans,  Edward  Payson.  Henrik  Ibsen;  his  early  career 
as  poet  and  plavwright.  {See  Atlantic  Mo.,  May, 
1890,  65:  577-88.) 

Garland,  Hamlin.  Ibsen  as  a  dramatist.  {See  Arena, 
June,  1890,  2:  72-82.) 

Influence  of  Ibsen.  (5ee  his  Crumbling  idols.    1894. 

p.  99.) 

"In  12  essays,  full  of  sound,  inspiring  thought,  Mr.  Gar- 
land shows  himself  a  clear-sighted  critic  and  a  hopeful  prophet." 

Reviewed  in  Dial.  July  1,  1894,  17:  11,  by  E.  E.  Hale,  Jr.; 
Nation,  July  19,  1894,  59:  53;  Critic.  Sept.  15,  1894,  25:  169. 


IBSEN  31 

Gosse,  Edmund  William.  Henrik  Ibsen.  (See  his 
Studies  in  the  literature  of  northern  Europe.  1883. 
p.  .35-69.) 

Enlargement  of  an  article  printed  in  the  Fortnightly 
Rev..  Jan.,  1873.  19:  74-88.  Published  also  in  his  ••Northern 
Studies."     1890.     p.  38-104. 

^  Henrik  Ibsen.  N.  Y.,  1908.  D.  Scribner,  SI. 

••A  biography  which  sketches  the  influences  .  .  .  that  set 
the  great  poet  to  weaving  such  an  individual  life  tapestry.  .  .  . 
There  is  no  attempt  to  set  forth  the  plots  of  his  dramas,  nor 
to  treat  the  spurious  'lessons'  and  suppositious  'problems' 
which  so  many  look  for  in  Ibsen."     Book  Review  Digest. 

Reviewed  in  .Athenaeum,  Mar.  2,  1908,  1:  304;  Atlantic  Mo., 
Aug..  1908, 102:  260;  Dial.  Feb.  16,  1908,  44:  108;  Independent. 
Apr. 23, 1908,64:921;  Nation,  Mar.  5,  1908,86:222;  Putnam's, 
May.  1908,  4:  238;  Saturday  Rev.,  Mar.  14,  1908,  105:  330-1. 

• Ibsen's  social  dramas.  (See  Fortnightly  Rev.,  Jan. 

1889,  51:  107-21.) 

An  e.xcellent,  discriminating  critique.  Lighter  in  treat- 
ment than  Brandes. 

Hapgood,  Norman.    Ibsen.    (See  his  Stage  in  America, 
1897-1900.      1901.     p.  206-18.) 
Thoughtful  interpretation  of  Ibsen's  dramas  as  produced 

on  the  .\merican  stage. 

Henderson,  Archibald.  Henrik  Ibsen  and  social  prog- 
ress.     (See  Arena,  Jan..  1905,  3.3:  26-30.) 

Herrmann,  Oscar.  Living  dramatists:  Pinero,  Ibsen, 
D'Annunzio;  introduction  bv  Will  W.  Massee.  187  p. 
O.    N.  v..  1905.    Brentano,  'S5  net. 

Huneker,  James.  Ibsen.  (See  his  Egoists.  1908.  p. 
317-49.) 

Appreciative  but  sane  general  sketch  of  Ibsen's  dramatic 
work. 

Ibsen  and  his  translators.  (See  Nation,  Jan.  23.  1890,  50: 

67-8.) 

The  Nation  considers  that  most  of  the  notices  of  transla- 
tions of  Ibsen  that  have  appeared  in  American  journals  up 
to  1890  are  ignorant  and  valueless  plagiarisms  of  English 
reviews. 

Jaeger,  Henrik  Bernhard.  Henrik  Ibsen,  a  critical 
biography  [tr.]  from  the  Norwegian  by  VV.  M.  Payne. 
Ed.  2.  320  p.  il.  O.    Chic,  1901.   McClurg.  §1.50  net. 

Ibsen's  literary  works  strung  in  the  order  of  their  appear- 
ance upon  the  thread  of  his  personal  career.  Chiefly  valu- 
able for  the  account  of  his  early  life. 

Reviewed  in  Dial,  June  1,  1902,  32:  16-17. by  W.H.Carruth. 

James,  Henry.  Henrik  Ibsen.  (See  his  Essays  in  Lon- 
don and  elsewhere.    1893.    p.  230-52.) 

This  essay  is  distinguished  by  the  subtle  observations, 
delicate,  critical  shadings  and  clever  style  so  characteristic 
of  Mr.  James.  In  the  few  pages  on  Ibsen,  the  author  con- 
siders only  Ibsen's  successes  as  a  dramatist  and  ignores  the 
prevalent  question  of  his  "morality  and  immorality." 

Reviewed  in  .\thenaeum,  July  29,  1893,  2:  158;  Nation. 
Nov.  ,30,  1893,  57:  416. 

Knorr,  Helena.  Ibsen  and  the  ethical  drama  of  the 
nineteenth  century.  (See  Poet-lore,  Jan. -Mar.,  1898. 
10:  49-65.) 

Traces  the  evolutions  of  the  ethical  drama  through  its 
earlier  representatives:  Dumas,  .Angler  and  Ibsen,  with  Ibsen 
as  its  master. 


32  IBSEN 

Lee,  Jannette  Barbour.  Ibsen  secret;  a  key  to  the 
prosL-  diaiuarf  of  Henri k  Ibsen.  N.  Y.,  1908.  D.  Put- 
nam, SI. 25. 

Devoted  principally  to  the  symbolism  in  Ibsen's  dramas. 
Enthusiastic  and  emotional  rather  than  discriminating  or 
analytic. 

Reviewed  in  .Atlantic  Mo..  Aug.,  1908,  102:  259;  Independent, 
Apr.  2a,  1008,  04:  922;  Nation,  Nov.  28,  1907,  85:  .500. 

Lord,  Walter  Frewen.  Works  of  Henrik  Ibsen.  {See 
Xinetoi-iuh  century,  Aug.,  1S89,  26:  241-56.) 

A  faint  outline  of  the  plays,  considered  in  chronological 
order. 

Macfall,  Haldane.  Ibsen,  the  man,  his  art  and  his 
significance.  X.  V.,  1907.  D.  Morgan  Shepard  Co., 
$1.50. 

Considerable  attention  paid  to  the  plots.  The  material 
seems  chiefly  drawn  from  other  biographers.  Impressionistic 
and  rhetorical  in  tone. 

Reviewed  in  Dial,  Feb.  16,  1907,42:  110;  Putnam's,  Apr., 
1907,  2:  120. 

Matthews,  Brander.    Ibsen  the  playwright.    {See  Book- 
man, Feb.,  19(16,  22:  568-75;  Mar.,  1906.  23:  18-27.) 
See  also  his  Inquiries  and  opinions.    1907.    p.  229-79. 
An   interesting   summary  with  especial  attention  given  to 
the  stage  success  of  the  plays. 

Monkhouse,  Allan.  Ibsen's  social  plays.  (5ee  his  Books 
and  plays.     1894.     p.  155-85.) 

Reviewed  in  Spectator,  Aug.,  1S94,  73:  242-3;  Literary 
world,  Sept.  S,  1894,  25:  282;  Academy,  Oct.,  1894,  46:  252. 

Moses,  Montrose  J.     Henrik  Ibsen;  the  man  and  his 

plays.   N.  Y.,  1908.  525  p.  D.   Kennerley,  .$1.50. 

"The  groundwork  has  been  based  on  Mr.  William  Archer's 
definitive  English  edition  of  Ibsen's  dramas."     Preface. 

Includes  a  bibliographical  note  (p.  517-22). 

Reviewed  in  Dial.  Mar.  16,  1909;  46:  192;  Independent, 
June  24,  1909,  00:  1400;  Nation,  Dec.  17,  1908;  87:  609;  North 
American  Rev..  Apr.,  1909.  189;  621-3;  Outlook,  Mar.  3,  1909. 
91:  773. 
Nordau,  Max.  Ibsenism.  (See  his  Degeneration.  Ed.  5. 
1895.     p.  338-415.) 

Nordau  has  undertaken  to  prove  in  a  scientific  and  elabo- 
rate argument  that  a  large  percentage  of  society  has  de- 
veloped a  taste  for  the  inferior  in  art  and  music  and  the 
depraved  and  filthy  in  literature,  and  that  authors  .  .  . 
who  furnish  the  supply  are  morally  and  mentally  degen- 
erate."    Critic.  » 

Original,  violent  in  language  and  "as  brilliant  as  it  is  pig- 
headed." 

Reviewed  in  North  American  Rev.,  June,  1895,  160:  735-40. 

by  Kenyon  Cox;   Bookman,  1:  178;  Saturday  Rev.,  Mar.  9, 

1895,  79:  323;  Dial,  Apr.  10, 1895,  18:  230,  by  E.  E.  Hale,  Jr.; 

Nation,  00:  327. 

Payne,  William  Morton.    Henrik  Ibsen.    (5ee  Outlook, 

May  21,  1902,  71:  240-7.) 
Rose,  Henry.   Ibsen  as  a  religious  teacher.   {See  Contem- 
porary Rev.,  June,  1908,  93:  692-708.) 

Traces  Swedenborgian  and  other  religious  elements  in  Peer 
Gynt  and  Brand. 

Schofield,  William  Henry.  Personal  impressions  of 
Bjornson  and  Ibsen.  {See  Atlantic  Mo.,  Apr.,  1898,  81: 
567-73.) 

A  study  of  Ibsen  in  contrast  with  his  great  contemporary, 
Bjornson,  by  a  great  philologist  who  has  studied  in  Christ- 
iania. 


IBSEN  33 

Shaw,  George  Bernard.  Quintessence  of  Ibsenism. 
Ed.  2.      170  p.  D.     N.  Y..    1891.     Brentano.  Sl.OO. 

A  thesis  written  to  meet  the  misapprehension  of  Ibsen's 
works  by  the  members  of  the  Fabian  Society  of  London, 
who  considered  it  worse  than  eccentric  to  commend  him. 
It  treats  of  Ibsen's  moral  doctrine  rather  than  of  his  art  or 
literary  development.  It  is  defiant  toward  conventional 
morality,  cynical  and  paradoxical,  but  stimulates  one's  desire 
to  read  more  deeply  into  Ibsen's  philosophy. 
Reviewed  in  Nation,  Oct.  G,  1904,  7'J:  282. 

Simons,  L.  Ibsen  as  an  artist.  {See  Westminster  Rev., 
Nov.,  1893.  140:  506-13.) 

Art  criticism  applied  to  The  Master  builder.  Lady  from  the 
sea  and  Rostnersholm. 

Smedley,  C.  In  defence  of  Hedda  Gabler.  (5ee  Fort- 
nightly Rev.,  Mar..  1908,  89:  565-7.) 

Smith,  L.  W.  Ibsen,  Emerson  and  Nietsche,  the  indi- 
vidualists. {See  Popular  Science  Mo..  Feb.,  1911,  78: 
147-57.) 

Treats  the  philosophy  of  Ibsen  rather  than  his  dramatic 
skill. 

Stampenbourg,  Baron  de.  (The)  passing  of  Ibsen. 
(.SV.;  Independent,  Nov.  7,  1901.  53:  2630-3.) 

Wicksteed,  Philip  H.  Four  lectures  on  Henrik  Ibsen 
dealing  chiefly  with  his  metrical  works.  Ed.  2.  112  p. 
S.    Lond.,  1892.    Sonnenschein.  2s.  6d. 

Valuable  lectures,  including  some  representative  selec- 
tions from  Ibsen's  works. 

Winter,  William.  (The)  Ibsen  drama.  {See  his  Shadows 
(,{  the  stage.     Series  3.      1895.     p.  330-7.) 

Mr.  Winter  accords  scant  praise  to  Ibsen  as  a  dramatist. 
"His  plays  have  too  little  action  to  qualify  them  for  the  stage 
—  are  too  commonplace  and  insipid  to  take  rank  as  litera- 
ture." 


HENRY  ARTHUR  JONES 

Jones,  Henry  Arthur.  Bed  of  roses;  a  comedy  in  one 
act.    22  p.  D.    Lond.  and  N.  Y.  S.  French,  paper.  6d. 

See  also  French's  (late  Lacy's)  Acting  ed.  of  plays.  Lond. 
V.   119. 

One  of  his  earliest  comedies.  "An  irascible  father  having 
turned  his  son  out  of  doors  three  years  previously,  forbids  his 
daughter  to  marry  his  medical  attendant.  The  son  returns, 
and  the  father  relents  when  he  learns  that  the  medical  attend- 
ant has  been  the  means  of  saving  his  son's  life  in  the  Cape 
War."      Hogg. 

Breaking  a  butterfly;  a  play  in  three  acts.    76  p.  O. 

Lond.,  1884.     Privately  printed,    o.  p. 

"An  adaptation  for  English  playgoers  of  Ibsen's  'Doll's 
House,'  falsifying  the  ethical  import  and  distorting  the  motive 
of  the  husband."     Wm.  Archer. 

Reviewed  in  Archer,  Wm.,  About  the  theatre,  1886.    p.  48. 

Carnac  Sahib;  an  original  play  in  four  acts.    151  p. 

D.    Lond.    Macmillan.    2s.  6d. 

"Distinguished  by  fidelity  of  portraiture,  command  of 
dialogue  and  splendor  of  presentation,  but  there  is  no  genuine 
interest  in  the  characters  and  sympathy,  though  not  entirely 
lacking,  is  badly  distributed.  Undramatic  picture  of  Anglo- 
Indian  life."    Athenceum. 

Reviewed  in  Athenaeum,  Apr.  22,  1899,  1:  507;  Oct.  28, 1899, 
2:  595. 

Case  of  rebellious  Susan:  a  comedy  in  three  acts. 


156  p.  D.   Lond.  and  N.  Y.   S.  French,  75c. 

Published  also  by  Macmillan.  Lond.,  1901.   128  p.  D.  2s.  6d. 

The  revolt  of  a  spirited  wife  against  modern  social  conditions. 
The  play  as  a  whole  is  one  of  the  author's  cleverest  and  most 
convincing  dramas. 

Reviewed  in  Athenaeum,  July  17,  1897,  2:  107;  Illustrated 
London  News,  June  18,  1910,  136:  994;  Sept.  24,  1910,  137: 
450. 


(A)  clerical  error;  a  comedy  in  one  act.    24  p.  D. 

N.  Y.     French,  cl906.     paper.  25c. 

In  Jones'  early  manner  (first  produced  in  1879).  A  clergy- 
man, misunderstanding  a  note  written  by  his  ward,  nearly 
marries  her  himself  instead  of  marrying  her  to  the  man  really 
meant  in  her  note.     Slight,  but  pleasant. 

(The)    Crusaders;  an  original  comedy  of  modern 

London  life.     130  p.  D.     Lond.,   1905.      Macmillan, 
2s.  6d. 

A  satire  on  the  motives  and  methods  of  modern  reformers. 

(The)  dancing  girl;  a  drama  in  four  acts.    119  p.  D. 

N.  Y..  1909.    S.  French,  75c. 

A  study  in  degenerate  English  society.  "Almost  a  really 
great  play.  The  characters  are  typical  studies  from  life."  The 
dramatic  technique  is  excellent. 

Reviewed  by  Walklev,  A.  B.,  Playhouse  impressions.  1892. 
p.  130-4;  Illustrated  London  News,  Feb.  20,  1909,  134:  354; 
Saturday  Rev.,  Jan.  24,  1891,  71:  99;  Theatre,  1891,  26:  98-9; 
Mar.,  1892,  28:  121. 

34 


JONES  35 

Jones,  Henry  Arthur.  (The)  deacon;  a  comedy  sketch 
in  two  acts.  23  p.  D.  Lond.  S.  French,   paper.  6d. 

(See  also  French's  (late  Lacy's)  Acting  ed.  of  plays. 
V.  133.) 

A  satire  on  unreasonable  and  bigoted  opposition  to  the 
stage.  The  violence  and  improbability  of  the  characters  rather 
defeat  the  purpose  of  the  play. 

Reviewed  in  Theatre,  1890,  25:  185-6. 

Dolly  reforming  herself;  a  comedy   in  four  acts. 

N.  Y.,  1910.    S.  French,  75c. 

"Founded  on  a  philosophic  question  'Can  we  cure  ourselves 
of  our  bad  habits?'  and  the  answer  worked  out  by  the  behavior 
of  a  few  people  in  a  country  house."     Beerbohm. 

Reviewed  in  Illustrated  London  News,  Feb.  6,  1909,  134: 
182;  Saturday  Rev.,  Nov.  7,  1908,  100:  573,  by  Max  Beer- 
bohm. 

Elopement;  a  comedy  in  two  acts.    Lond.  and  New 

York.   S.  French,    paper.   6d. 

(See  also  French's  (late  Lacy's)  .\cting  ed.  of  plays,    v.  122.) 
A   slight    play  of  the  1879  group.     The  plot  centres  around 
an  intended  elopement  which  finally  ends  happily  for  all. 

Harmony;  a  domestic  drama  in  one  act.    18  p.  D, 

Lond.  and  New  York,  1889.    S.  F'rench.    paper.    6d. 

(.S^e  also  French's  (late  Lacy's)  Acting  ed.  of  plays,    v.  119.) 

A  brief  sketch  of  the  lower  middle  classes,  a  now  practically 

forgotten  play  seldom  if  ever  rising  above  the  commonplace. 

Hearts  of  oak;  a  domestic  drama  in  two  acts.    D. 

Lond.  and  New  York.,  1885.   S.  French,   paper.  6d. 

(See  also  French's  (Lacy's)  Acting  ed.  of  plays,     v.  122.) 
Once  very  popular  as  a  stage  production.     \  conventional 
drama  with  a  prodigal  hero,  an  elderly  villain  and  a  much- 
loved  heroine  of  the  types  beloved  by  the  gallery  god. 

(The)  hypocrites;   a   play   in   four  acts.    118  p.  O- 

New  York,  1908.     S.  F'rench,  75c. 

"A  victory  which  accomplishes  itself.  The  hero  is  a  young 
curate  who  holds  fast  to  the  higher  ideal  of  the  Church  of  Eng- 
land against  all  the  hypocrites  about  him  and  by  virtue  of  his 
single  truth  enforces  one  law  for  both  the  low-born  and  nobly- 
born  transgressor  in  the  common  sin  of  seduction."  W.  D. 
Hcnvells. 

Reviewed  in  Current  Literature,  Feb.,  1907,  42:  189-95; 
Harper's  Weekly,  Nov.  24,  1906,  50:  1682-3,  by  VV.  D. 
Howells;  Theatre,  Oct.,  1906,  6:  255-9. 

Joseph  entangled;  a  comedy  in  three  acts.   141  p.  O. 

N.  Y..  1909.    S.  French,  7oc. 

"A  realistic  comedy  of  manners,  full  of  vitality  and  distin- 
guished by  its  naturalness  of  dialogue.  The  play  is  spent  in 
frantic  efforts  to  e.xplain  certain  compromising  circumstances." 
M.  Beerbohm. 

Reviewed  in  Saturday  Rev.,  Jan.  23,  1904,97: 107,  by  Max 
Beerbohm. 

Judah;  an  original  play  in  three  acts.     107  p.  O 

Lond.,  1S94.     Macmillan,  2s.  6d. 

A  non-conformist  minister  perjures  himself  to  s;ive  the  repu- 
tation of  a  faith-healer  and  medium  whom  he  loves  and  with 
whom  he  afterward  works  out  their  common  rehabilitation  in 
the  eyes  of  the  world.  The  play,  which  is  one  of  Jones'  strong- 
est, is  a  study  of  the  moral  degeneration  and  regeneration 
wrought  by  love. 

Reviewed  by  Walkley,  A.  B.,  Playhouse  impressions,  1892. 
p.  119-22;  Academy,  37:  396,  by  F.  Wedmore;  Saturday  Rev., 
May  24,  1890,  69:  640;  Theatre,  1890,  25:  24;  1892.  28:  152. 


36  JONES 

Jonea,  Henry  Arthur.  (The)  lackey's  carnival;  a 
comedy  in  lour  acts.  O.  Lond.,  1900.  Privately 
printed. 

"First  effort  of  a  dramatist  to  penetrate  the  character  of 
servants,  but  the  play  should  have  been  more  wholly  devoted 
to  the  main  idea.  The  hero,  stripped  of  circumstantial  un- 
reality, is  a  fine  and  memorable  character."     Max  Beerbohm. 

Reviewed  in  Athenaeum,  Oct.  6,  1900,  2:  451;  Saturday  Rev., 
Oct.  6.  1900,  90:  423,  by  Max  Beerbohm. 

(The)  liars;  an  original  comedy  in  four  acts.    160  p. 

O.     N.  v.,  1909.     S.  French.  75c. 

Published  also  by  Macmillan.  Lond.,  1904.  130  p.  D. 
2s.  6d. 

"The  subject  is  a  married  lady  sailing  too  close  to  the  wind 
in  a  flirtation.  The  interest  apart  from  its  wealth  of  comedy 
lies  in  the  keen  and  accurate  picture  of  smart  society."  G.  B. 
Shaw. 

Reviewed  in  Academy,  Oct.  16,  1897,  .52:  306;  Athcna?um, 
Oct.  16,  1897,  2:  533;  Jan.  4,  1902,  1:  28;  Bookman,  Nov.  1, 

1898,  8:  210;   Critic,   Nov.,   1898,   30:    371-3;    Forum,   Feb., 

1899.  26:  7.57,  by  J.  G.  Speed;  Harper's  Weeklv,  Oct.  8,  1898, 
42:  994;  Saturday  Rev.,  Oct.  9,  1897,  84:  388,  by  G.  B.  Shaw; 
Dec.  10,  1910,  110:  778. 

Manoeuvres  of  Jane;  an  original  comedy  in  four 

acts.      12S  p.  D.     Lond.,  1905.     Macmillan,  2s.  6d. 

.'\  farcical  study  of  the  manner  in  which  a  disobedient 
daughter  man(euvres  so  as  to  thwart  the  plans  of  everybody 
but  herself  and  to  marry  the  man  of  her  choice.  One  of  Jones' 
best  farce-comedies. 

Reviewed  in  Academy,  Nov.  5,  1898,  55:  216;  Athenaeum, 
Nov.  5.  1898,  2:  651;  Harper's  Weekly,  Dec.  23,  1899,  43: 
1293,  by  John  Corbin;  Independent,  Apr.  6,  1905,  58:  783; 
Saturday  Rev.,  Nov.  5,  1898,  86:  60.3-05,  by  Max  Beerbohm. 

(The)  masqueraders;  a  play  in  four  acts.    124  p.  D. 

Lond.,  1899.     Macmillan,  2s.  6d. 

Published  also  by  S.  French.    N.  Y.,  1909.    135  p.  O.   75c. 

"Dramatic  and  interesting,  but  inconclusive  and  incomplete, 
suggesting  views  as  to  the  significance  of  feminine  surrender 
which  the  writer  does  not  hold."     Athencsiim. 

Reviewed  in  Athenaeum,  July  15.  1899,  2:  108. 

Michael  and  his  lost  angel;  a  play  in  five  acts. 


131  p.  D.     Lond.,  1905.     Macmillan.  2s.  6d. 

"If  sympathetically  considered  from  the  author's  attitude, 
this  seems  a  genuinely  sincere  and  moving  play  written  with 
knowledge  as  to  the  man  and  insight  as  to  the  woman  by  an 
adept  playwright  with  a  kindly  observer's  sense  of  contempo- 
rary manners  and  a  knowledge  of  spiritual  history."  G.  B. 
Shaw. 

Reviewed  in  Athenaeum,  Apr.  17,  1897,  1:  519;  Dial,  Sept.  16. 
1896,  21:  149;  Saturday  Rev.,  Jan.  18,  1896;  81:  70-1;  Jan. 
25,  1896,  81:  98-100. 

(The)  middleman;  a  play  in  four  acts.     128  p.  O. 

N.  Y.     S.  French,  75c. 

"A  piece  of  frank  romance,  the  dramatic  significance  of 
which  lies  in  the  situation  of  a  father  who  will  not  permit  his 
son  to  marrv  the  woman  whom  he,  the  son,  has  dishonored." 
A.  B.    Walkley. 

Reviewed  by  Walkley,  A.  B.,  Playhouse  impressions,  1892, 
p.  116-18;  Arena,  Mar.,  1901,  25:  329-39;  Theatre.  1889,  23: 
200. 

Mrs.  Dane's  defense;  a  play  in  four  acts.     136  p.  O- 


N.  Y.,  1909.     S.  French,  75c. 

Published  also  by  Macmillan.  Ix)nd.,  1905.  131  p.  D.  2s.  6d. 

Deals  with  the  unsuccessful  attempt  of  a  woman  to  conceal  a 
dishonorable  past.  A  study  in  the  inevitable  punishment 
which  awaits  a  lapse  from  feminine  virtue.  Excellent  in  stage 
construction  and  character  drawing. 


JONES  37 

Reviewed  in  Athenaeum,  Oct.  13,  1900,  2:  487;  Critic   Feb 
190J,  38:  139,  by  J.  R.  Towse;  Fortnightly  Rev.,  Nov.,  1900. 
74:  8')3-5;    North  .American  Rev.,  Mar.,    1901,  172:    478-9- 
Outlook.  .A.pr.  L"J,  1905,  79;  10(iO. 

Jones,  Henry  Arthur.     (An)  old  master;  a  comedy  in 
one  act.  22  p.  D.  Lond.,  1«83.     S.  French,  6d. 

(5ee  also  French's  (late  Lacy's)  Acting  ed.  of  plays,  v.  119.) 
Of   interest  only   as   an   example  of  Jones'   early   manner. 
Of  no  literary  merit  and  not  very  successful  as  a  stage  produc- 
tion. 

(The)    physician;   an   original    play   in   four   acts. 

119  p.  D.   Lond..  1899.    Macmillan.  2s.  6d. 

A  morbid  study  of  hypochondria  and  a  physician's  struggle 
to  decide  between  love  and  professional  duty. 

Reviewed  in  Critic,  Oct.  9,  1897;  28:  209;  Harper's  Weekly, 
Oct.  16,  1897,  41 :  1020,  by  J.  D.  Barry;  Saturday  Rev..  Apr.  3. 
1897,  83:  348-50.  by  G.  B.  Shaw. 

(The)  rogue's  comedy;  a  play  in  three  acts.    140  p. 

D.   Lond.,  1898.    Macmillan,  2s.  6d. 

A  study  of  the  English  underworld.  Full  of  humor  but 
often  drops  to  level  of  mediocre  melodrama. 

Reviewed  in  Athenaeum,  Jan.  28, 1899, 1:121;  Critic,  Dec.  12. 
189G,  26:  393;  Dial,  Apr.  16,  1899,26:  279;  Saturday  Rev.. 
Jan.  25,  1896,  81:  98-100;  Apr.  25,  1896,  81:  426. 

Saints  and  sinners;  a  new  and  original  drama  of 

modern  English  middle-class  life  in  five  acts.    IGcS  p.  O. 
Lond.,  1881.     Macmillan,  3s.  6d. 

"Ruthless  handling  of  hypocrisy  and  selfishness  under  a 
cloak  of  religion.  The  truth  of  character,  literary  ability 
of  dialogue  and  dramatic  skill  of  construction  are  unques- 
tioned."     Nation. 

Reviewed  in  Archer,  Wm.,  About  the  theatre,  1886.  p.  49; 
Nation,   Oct.  30.  1884.  39:  371,  by  Henry  Norman;  Theatre. 

1892,  28:  151. 

Silver  king;  a  drama  in  five  acts.    179  p.  O.    X.  Y., 

1907.     S.  French,  75c. 

A  melodrama  with  a  long  record  of  stage  success.  The  hero 
ruined  by  association  with  blacklegs  and  gamblers,  flees  to 
America  under  suspicion  of  murder.  He  goes  to  Montana 
becomes  a  "silver  king,"  and  returns  to  track  down  the  real 
murderer  and  to  free  himself  from  suspicion.  As  a  literary 
production  it  is  of  little  significance. 

Reviewed  in  Archer,  William,  About  the  theatre,  1886, 
p.  47;  Theatre,  1882. 

Sweet  Will;  a  comedy  in  one  act.    24  p.  D.    N.  Y., 

1893.  S.  French,  paper.  15c. 

(See  also  French's  (late  Lacy's)  Acting  ed.  of  plays,   v.  131.) 
A  quiet  pastoral  play  in  which  the  course  of  true  love  though 
hindered  by  poverty  finally  does  "run  smooth." 

(The)    tempter;   a   tragedy  in   verse  in   four  acts. 

130  p.  S.   Lond.,  1898.    Macmillan,  2s.  6d. 

A  miracle  play  with  mediaeval  setting.  Powerful  and  stimu- 
lating, but  neither  great  poetry  nor  great  drama.  The  author's 
only  poetical  drama. 

Reviewed  in  .Athenaeum,  Dec.  31,  1898,  2:  940;  Westminster 
Mag.,  Jan.,  1899,  151:  107. 

Triumph  of  the  Philistines  and   how   Mr.   Jordan 

preserved  the  morals  of  Market  Pewbury  under  very 
trying  circumstances;  a  comedy  in  three  acts.  137  p.  D. 
Lond.  and  N.  Y.,  1899.    Macmillan.  2s.  6d. 

"An  object  lesson  in  British  lower  middle-class  hypocrisy, 
which  is  attacked  courageously  and  uncompromisingly  .  .  . 
Shows  creative  imagination,  curious  observation  and  inven- 
tive humor  which  combine  to  produce  a  right  effect  even  though 
details  are  outrageous."     G.   B.'Shaw. 


38  JONES 


Reviewed  in  Saturday  Rev..  May  18,  1895,  79:  650.  by  G.  B. 
Shaw. 

Jones,  Henry  Arthur.  Whitewashing  JuUa;  an  origi- 
nal coinedv  in  tliree  acts  and  an  epilogue.  140  p.  D. 
Lond.,   i;)U5.     Macmillan,  2s.  Gd. 

Julia,  returning  to  her  native  town,  is  forced,  in  order  to 
escape  social  ostracism,  to  explain  satisfactorily  her  relations 
to  a  married  foreign  prince.  The  outcome  is  satisfactory  and 
Julia  is  "white  washed."  An  attack  on  country  bigotry  and 
moral  pretense. 

Reviewed  in  Athenaeum.  Mar.  7,  1903.  1:  315;  Saturday 
Rev.,  May  17.  1903,  95:  291,  by  Max  Beerbohm. 

Non-Dramatic  Works  (Selected) 

Jones,  Henry  Arthur.  Appeal  to  churchmen  to  save 
tiie  drama.  {See  Current  Literature.  Dec.  1906.  41: 
680-1.) 

Points  out  the  moral  possibilities  of  clean,  courageous 
drama. 

Bible  on  the  stage.     (See  New  review,  Feb..  1893.) 

Censorship  muddle.     60  p.  O.     Lond.,   1909.     S. 

French,  6d. 

Corner-stones  of  modern  drama.    (See  Fortnightly 

Rev.,  Dec,  1906,  86:  1084-94.) 

Literature  and  the  modern  drama.     (See  Atlantic 

Mo.,  Dec,  1906,  98:  796-807.) 

Recognition  of  the  drama  by  the  state.  (See  Nine- 
teenth Cent.,  Mar.,  1904,  55:  449-66.) 

Discusses  the  question  of  an  endowed  National  theatre. 
Renascence  of  the  English  drama;  essays,  lectures 


and  fragments  relating  to  the  modern  English  stage, 
written  and  delivered  in  the  years  1883-94.  D.  Lond., 
1895.     Macmillan,  6s. 

Though  without  logical  connection  or  definite  plan  these 
articles  not  only  reveal  much  of  Jones'  purposes  and  methods 
in  playwriting  but  afford  much  suggestive  material  for  the 
general  criticism  of  contemporary  dramatists. 

Criticism 

Archer,    William.      [Henry   Arthur  Jones.]      (See  his 

About  the  theatre,  1886,  p.  45-6.) 
Beerbohm,   Maz.     Popular  success    of    Henry  Arthur 

Jones.    (See  Saturday  Rev.,  Oct.  13,  1900,  90:  458.) 
Bettany,  A.  L.    Henry  Arthur  Jones  and  modern  Eng- 
lish drama.     (See  Theatre,  31:  203.) 
Blathwayt,  R.    Henry  Arthur  Jones.     (See  Idler  4:  67.) 

Slight,  popular  sketch  of  Jones  and  his  work. 
Borsa,  Mario.   English  stage  of  to-day.   190S. 

Includes  general  critique  of  Jones  with  brief    comments  on 

several  plays. 
Bullock,  J.  M.    Henry  Arthur  Jones  with  bibliography 

of  his  plays.      (See  Bookbuyer,  Apr.,  1898,  16:  225.) 
Biographical  and  critical  with  concise  comments  on  many 

individual   plays.     Bibliography   is   confined   to   list    of    titles 

with  year  of  first  production. 
Hamilton,  J.  A.     Henry  Arthur  Jones.      (See  Munsey, 

May,  1894,  11:  174.) 
Howells,  William  Dean.    Plays  of  Henry  Arthur  Jones. 

(See  North  American  Rev..  Oct..  1907,  186:  205-12.) 
An  appreciative  sketch  with  brief  analysis  of  several  later 

plays. 


JONES  39 

Jones,  Henry  Arthur.    Chance  the  idol.    1902. 

The  hero  is  a  man  of  good  intentions  but  no  will-power  who, 
by  yielding  to  his  love  for  gambling,  is  financially  ruined  and 
unable  to  make  reparation  to  the  woman  he  has  wronged. 
A  study  in  feebleness  of  moral  fibre. 

Reviewed  in  Saturday  Rev.,  Sept.  13,  1902.  94:  328.  by  Max 
Beerbohm. 


Chevaleer.     1904. 


.\n  itinerant  showman,  the  "Chevaleer"  takes  advantage 
of  an  apparently  compromising  position  in  which  he  discovers 
a  lady  and  her  admirer  to  secure  for  himself  a  lucrative  com- 
mission. Broadly  farcical,  it  derives  its  humor  from  the 
meeting  of  diverse  strata  of  society  and  the  resulting  situa- 
tions. 

Reviewed  in  Saturday  Rev.,  Sept.  10,  1904,  98:  328,  by  Max 
Beerbohm. 

(The)  evangelist. 

A  study  of   non-conformist  religious  ideals  and   motives. 
Produced  at  the  Knickerbocker,  N.  Y..  Nov.,  1907. 
Reviewed  in  Forum,  Jan.,  1908,  39:  370-1. 

Hoodman  blind.    1885. 


A  piece  of  apprentice  work. 

Reviewed  in  Archer,  William,  About  the  theatre,  1886,  p.  54. 

(The)  knife.      1910. 

Reviewed  in  Saturday  Rev.,  Jan.  1,  1910,  108:  11,  by  Max 
Beerbohm. 

Lord  Harry.     1886. 

Comment  by   \Vm.  Archer  in  his  About  the  theatre.      1886. 
p.  55. 

Noble  vagabond.    1886. 


Reviewed  in  Theatre,  1886.  18:  44,  107. 


Princess'  nose.     1902. 


"A  young  wife  is  neglected  by  her  husband  who  plans  to 
elope  with  a  married  woman  who  is  a  guest  in  the  house." 
A  fortunate  accident  opens  the  husband's  eyes  and  brings 
things  to  a  happy  conclusion.  Strong  in  spots  but  not  an 
adequate  solution  of  married  fickleness  nor  a  powerful  play. 

Reviewed  in  Saturday  Rev.,  Mar.  22,  1902,  93:  363. 

We  can't  be  as  bad  as  all  that.     1911. 


Characteristic  study  of  the  weaknesses  of  certain  English 
social  types  whose  acquaintance  in  real  life  would  be  highly 
undesirable.  Neither  a  great  success  nor  a  marked  failure 
either  in  style  or  construction. 

Reviewed  in  Canadian  Mag.,  Mar.,  1911,  36:  476-8;  Book- 
man, Feb..  1911,  23:  607;  Munsey's  Mag.,  Feb.,  1911,  44:  710. 

Wealth.     1889. 

Reviewed  in  Theatre,  1889.  22:  326. 

;■  and  Herman,  Henry.     Chatterton.     1884. 

"Thoughtful  and  original.  Makes  no  attempt  to  reproduce 
or  interpret  the  idiosyncrasies  of  the  historical  Chatterton, 
but  presents  an  accepted  type  of  genius  at  war  with  poverty." 
Wm.  Archer. 

Comment  by  Wm.  .\rcher  in  his  About  the  theatre.  1886. 
p.  48. 

Moses,  Montrose  J.     Henry  Arthur  Jones:  dramatist. 
(See  Book  News,  Apr..  190S,  26:  437-9.) 
Popular  illustrated  sketch  of  no  marked  value. 

Recent  English  dramatists.    O.   Phil.,  1901.    Booklovers' 
library,    o.  p. 
Includes  criticism  of  Jones. 


40  JONES 

Tarpey,  W.  K.   Henrv  Arthur  Jones'  work  as  a  dramatist. 

(Sre  Critic,  Aug.,  1900,  37:  12.3,  124-8.) 

Walkley,  Arthur  Bingham.  Henry  Arthur  Jones  on 
plavmakiiig.  {See  his  Playhouse  impressions.  1892.  p. 
111-15.) 

Criticism  of  an  address  of  Jones  and   incidentally  of  his 
theory  of  the  drama. 

The  realist  in  spite  of  himself.    {See  his  Playhouse 


impressions.  1S92.  p.  123-9.) 
Demonstration  of  Jones'  essential  realism  in  his  best  work. 


MAETERLINCK 

Maeterlinck,  Maurice.  Plays;  tr.  by  Richard  Hovey. 
2  V.  D.  Chic,  1896-1902.  Stone  &  Kimball,  $1.25  ea. 
(Green  tree  library.) 

Contents: — 
V.  1.     Princess  Maleine. 

The  intruder. 

The  blind. 

The  seven  princesses. 
V.  2.     AUadine  and  Palomides. 

P^llfes  and  M^lisande. 

Home. 

The  death  of  Tintagiles. 
Reviewed  in  Critic,  26:  379;  Literary  World,  26:  68. 

Three  plays  by  Maeterlinck:  Alladine  and  Palo- 
mides, Interior,  The  death  of  Tintagiles.  Lond. 
Gowans  &  Gray.   O    2s.  6d. 

Translated  by  William  Archer  and  Alfred  Sutro. 

A|jlavaine  and  Selysette;  a  drama  in  five  acts,  tr. 

by  Alfred  Sutro.     172  p.  O.    Lond.,  1897.    Richards, 
3s.  6d.  net. 

Published  also  by  G.  Allen.  110  p.  O.  Lond..  1904.  3s.  6d. 
net.  (Acting  version.)  Also  published  by  Badger.  Best.,  1909. 
$1.25. 

A  modern  wrestle  with  the  old  story  of  Platonic  friendship. 
Aglavaine,  a  highminded  and  cultured  girl,  shares  the  love  of 
the  husband  of  Selysette,  the  sweet  sclf-belittling  child-wife. 
In  the  half-spiritual  motives,  overcome  in  the  end  by  jealousy 
and  tragedy,  and  in  the  unusually  lengthy  monologues  of 
these  three  deep-souled  characters,  who  love  the  joys  of 
silence  and  all  things  ill-fitted  to  the  conventions  of  real 
living,  Maeterlinck  has  expressed  many  of  his  own  views  of 
life  and  love.  A  drama  to  be  loved  because  of  its  gentle 
pathos  and  soul-revelations  rather  than  for  its  real  dramatic 
significance. 

Reviewed  in  Westminster  Rev.,  Apr.,  1899,  151:  409-16! 
Fortnightly  Rev.,  Aug.,  1897.  68:  185-6,  by  V.  M.  Crawford: 
Living  Age,  235:  193. 


Alladine  and  Palomides. 


Published  also  by  F.  Stokes.   N.  Y.,  1908.  S.  paper,  25c. 

A  love  drama  in  which  all  the  moods,  the  naively  childish 
characters  and  the  bare  little  externals  of  plot  and  movement 
resemble  PelUas  and  MHisande.  It  is  a  revelation  of  the 
hidden  life.  "Mere  words  have  no  meaning"  and  whatever 
one  sees  of  outward  things  about  the  play  seems  vague  and 
far  removed  from  actual  existence. 

41 


42  MAETERLINCK 


Maeterlinck,  Maurice.     (The)  blind. 

Published  also  undor  title  The  sightless,  tr.  by  Sir  Laurence 
Alma  Tadema.    Lond.    W.  Scott.    O.    Is.    (Scott  library.) 

.-V  one-act,  one-scene  play,  in  which  a  group  of  blind  men 
helplessly  grope  about  in  a  cavern-like  forest  place,  seeking 
in  vairi  for  their  guide,  a  priest  who  is  already  dead.  It 
symbolizes  a  world  of  people  lost  in  the  darkness  of  unfaith 
and  uncertain  where  to  fasten  their  reason.  The  story  is 
simply  told  by  the  picture  on  the  stage  which  the  words  of 
the  blind  men  explain  without  further  action.  One  feels  the 
artist's  touch  throughout  in  the  atmosphere  and  suggestion. 

Reviewed  in  Poet-lore,  Oct.-Dec,  1901,  13:  554-60.  by  E.  D. 
Daniels. 


Blue  bird;  a  fairy  play  in  five  acts,  tr.  by  Alexander 

Teixeira  de  Mattos.    N.  Y..  1909.    O.     Dodd,  SI. 20. 

Published  also  by  Dodd.  N.  Y.,  1910.  240  p.  il.  O.  $2.  (New 
theatre  ed.) 

A  symbolic  play  dealing  with  the  dream  adventures  of 
Tyltil  and  Mytil,  the  children  of  a  wood-cutter  who  are  com- 
missioned by  the  fairy  Birylune  ...  to  go  in  quest  of  the 
Blue  bird  whose  possession  will  enable  man  to  discover  the 
hidden  souls  of  animals  and  things."      Nation. 

Reviewed  in  Craftsman,  Dec,  1910,  19:  246-61;  Current 
Literature,  Sept.,  1909,  47:  305-11;  Dial,  May  1,  1909,  46:  296- 
7;  Hamptons  Mag.,  Nov.,  1910,  25:  671-3,  677;  Independ- 
ent, Apr.  8.  1909.  66:  765;  Munsey,  Dec,  1910,  44:  414-15; 
Nation,  Apr.  8,  1909,  88:  366-7;  Outlook,  Oct.  15,  1910,  96: 
339-40;  World  to-day,  Nov.,  1910,  19:  1196. 


Death  of  Tintagiles. 


Published  also  separately  by  Gowans  and  Gray.  Lond.  D. 
paper.  6d.    (Tr.  by  Alfred  Sutro.) 

In  this  attempt  to  typify  the  struggle  of  human  affection 
against  death,  the  scene  is  fittingly  laid  in  the  remote  realm 
of  an  ugly,  mysterious  Queen  who  pursues  with  undying 
hatred  the  child  Tintagiles,  heir  to  her  throne.  Though  the 
setting  is  remote  and  unreal  the  theme  is  developed  with 
truthfulness  to  life  and  dramatic  power. 

Reviewed  in  Athensura,  June  24,  1899,  l:  794-5. 

(The)  Home. 


Published  also  separately  under  title  Interior  (tr.  by  William 
Archer)  by  Gowans  and  Gray.  Lond.  D.  paper  6d.;  also  by 
F.  Stokes.  N.  Y.  S.  paper.  25c.  Also  in  Maeterlinck,  M. 
Three  plays.     (See  above.) 

The  dramatic  make-up  of  this  slight  little  play  is  closely 
fashioned  after  that  of  The  blind  and  The  intruder,  hence 
it  is  unusual  and  unconventional  —  a  play  of  situations  and 
dramatic  suggestiveness  in  which  the  interest  centers  in  the 
rescuers  of  a  drowned  girl,  who  loiter  outside  and  pityingly 
watch,  through  the  closed  shutters  of  a  window,  the  little 
family  group  to  whom  they  must  break  the  painful  news. 

Reviewed  in  Critic,  June  22,  1895,  26:  451-3,  by  Israel 
Zangwill. 

(The)  Intruder. 


Artful  in  its  beautiful  execution  and  in  the  subtle  hold  it 
has  upon  the  attention,  this  play  needs  only  to  be  read  aloud 
to  reveal  its  dramatic  effectiveness.  The  invisible  intruder 
is  Death.  The  action  centers  in  the  death  of  a  sick  woman 
who  does  not  appear  at  all  in  the  play.  Meanwhile  a  family 
group  sit  about  a  waning  lamp  and  converse  in  a  homely, 
realistic  way.  The  symbolism,  atmosphere  and  the  use  of 
simple,  poetic  words  make  one  feel  the  awful  presence  of 
Death.     It  represents  his  most  characteristic  work  in  drama. 

Reviewed  in  Caine,  Hall,  Introduction  to  Maeterlinck's 
Princess  Maleine,  tr.  by  William  Wilson,  1892,  p.  8-19;  Fort- 
nightly Rev.,  Sept.,  1891,  56:  346-54,  by  William  Archer. 


MAETERLINCK  43 

Maeterlinck,    Maurice.       Joyzelle;  a  drama  in  five 

acts.    tr.    by   Clarence  Stratton.      {See  Poet-lorfe,  1905 
16:   1-45.) 

Published  also  (bound  with  Monna  Vanna)  by  Dodd  X  Y 
D.    SI.20;  also  by  G.  Allen.    Lend.    O.    3s.  6d.  "      ' 

As  the  author  expresses  the  motive,  "it  is  the  triumph  of 
love  and  will  over  fatality."  In  its  vague  dealing  with  un- 
seen powers  and  justice  it  resembles  his  later  work,  Monna 
Vanna,  though  in  comparison  it  is  a  more  commonplace 
drama,    inferior   in    its   style   and    distasteful    in    its   subject. 

Reviewed  in  Fortnightly  Rev..  July,  1903,  80:  76-87  by 
M.  A.  Gerothwohl;  Critic.  Aug..  1903.  43:  114-15,  by  Grace 
Corneau. 

Mary  Magdalene;  a  play  in  three  acts;  tr.  by  Alex- 
ander Teixeira  de  Mattos.  182  p.  D.  N.  Y.,  1910 
Dodd.  SI. 20. 

"The  influence  of  Christ  is  the  moving  influence  of  the 
drama,  and  thrice  his  voice  is  heard  behind  the  scenes.  .  .  . 
His  presence  in  the  course  of  the  drama  has  so  miraculously 
changed  the  heart  of  the  Magdalene  that  she,  who  had  sinned 
so  often  cannot  ...  sin  once  more  even  to  save  her  Saviour 
from  the  cross." 

A  study  of  the  ennoblement  of  a  woman's  soul  by  spiritual 
ecstasy. 

Reviewed  in  .-Mhenaeum,  Nov.  5,  1910,  2:  565;  Bookman, 
Dec.  1910,  32:  419-21;  Current  Literature,  Dec,  1910,  49: 
667-9;  Dial,  Dec  16,  1910,  49:  522;  Nation,  Oct.  20,  1910. 
91 :  374. 

Monna  Vanna;     a  plav  in  three  acts,  tr.  by  A.  I. 

D.  Coleman.     143  p.  O.    N.  Y..  1904.     Harper.  SI. 20 
net. 

The  scene  is  laid  at  Pisa  at  the  close  of  the  15th  century 
when  Pisa,  as  an  ally  of  Venice,  was  besieged  by  the  Floren- 
tines. The  motive  is  the  heroism  of  a  pure-minded  woman 
who  sacrifices  herself  for  the  city,  and  discovers  the  difference 
between  the  love  and  perfect  trust  of  her  captor  and  the 
cruelty  and  jealousy  shown  by  her  husband.  Without  being 
a  masterpiece  or  possessing  any  great  dramatic  power  it 
abounds  in  imagination  and  delicate  literary  touches.  The 
translation  is  good. 

Reviewed  in  Dial,  Oct.  16,  1903,  35:  257-8,  by  E.  E.  Hale, 
Jr.;  Nation,  Oct.  15,  1903,  77:  .307;  Athenaeum,  June  28,  1902, 
1:  827;  Nineteenth  Cent.,  Julv  1902,  52:  72-5,  282-91;  Fort- 
nightly Rev.,  Aug.,  1902,  78:  183-6,  bv  L.  A.  Tadema;  Har- 
per's Weekly.  Nov.  11,  1905,  49:  1640;  Bookman,  Sept.,  1902, 
16:  46-9,  by  F.  T.  Cooper. 

Pelleas  and  MeHsande. 

Published  also  (bound  with  The  sightless)  by  W.  Scott. 
Lond.  O.  Is.  (Tr.  by  Sir  Laurence  Alma  Tadema.)  .Mso  by 
Crowell.  N.  Y.,  1908.  135  p.  D.  $l..i0  (tr.  by  Ewing  Wins- 
low.) 

Old  forgotten  castles,  haunted  forests  and  mysterious 
black  pools  make  a  romantic  setting  for  this  modern  revision 
of  the  historic  Da  Rimini  story.  The  characters  are  dim  and 
confused,  more  abstract  than  vital,  and  hidden  meanings 
crowd  each  scene,  yet  the  play  is  suggestive  of  life  in  its  pas- 
sion and  profound  dramatic  truth. 

Reviewed  in  Archer,  William.  Study  and  the  stage,  1899, 
p.  133-7;  Symons,  .'\rthur.  Plays,  acting  and  music,  1903, 
Dial,  18:  174,  by  E.  E.  Hale.  Jr.;  Dial,  Dec.  1,  1908,  45: 
415;  Independent,  Oct.  8,  1908,  65:  843;  Literary  Digest.  Oct. 
1,  1910,  41:  544-5;  Saturday  Rev.,  Sept.  3,  1910,  110:  296. 


44  MAETERLIXCK 

Maeterlinck,  Maurice.  Princess  Maleine;  a  drama  in 
rive  acts,  tr.  by  Gerard  Harry,  and  The  intruder,  a 
drama  in  one  act,  based  on  a  tr.  of  William  Wilson; 
with  an  introduction  by  Hall  Caine.  255  p.  D.  Lond., 
1892.   Heinemann,  5s. 

Savage  and  violent  love  and  tragedy.  Terror  is  the  key- 
note that  fills  the  air  about  the  murky  palace,  its  hideous 
royalty  and  the  unfortunate  Maleine.  The  action  has  little 
sequence.  A  fateful,  mysterious,  shuddering  mood  grows 
more  and  more  tense  till  a  ridiculously  cyclonic  clima.x  is 
reached.  Many  commentators  refer  to  it  as  a  "Shakespeare 
anthology"  by  reason  of  its  marked  likeness  to  various  parts 
of  Hamlet,  ^Iacbeth  and  Lear. 

Reviewed  in  Caine,  Hall,  Introduction  to  Maeterlinck's 
Princesse  Maleine,  tr.  by  Gerard  Harry,  1892,  p.  1-8;  Critic, 
June  22,  1895,  2ij:  451-3.  by  Israel  Zangwill;  .Academy,  Mar. 
19,  1892,  '11:  270-2,  by  William  Sharp;  Fortnightly  Rev.,  Sept., 
1891,  56:  346-54,  by  VVUliam  Archer. 

(The)    seven   princesses;    tr.    by   Charlotte   Porter 


and  Helen  A.  Clarke.     {See  Poet-lore,  1894,  6:  29-32; 

87-93;  150-61.) 

Published  also  by  Gowans  &  Gray.  Lond.  O.  paper.  6d. 
(Tr.  by  William  Metcalfe.) 

-A  romantic  story  with  some  poetical  quality,  showing  the 
playwright's  pronounced  originality  and  independence.  The 
setting  is  not  to  be  placed  in  any  particular  locality,  but  is 
the  ever-dilapidated  castle  of  most  of  his  plays  and  an  old 
king  and  queen  who  typify  the  past.  Finely  earnest  scenes 
follow  weak  and  flabby  ones  in  an  unsatisfactory  way;  some- 
times tragical,  sometimes  ridiculous,  and  with  an  amusing 
repetition  of  phrase.  While  the  play  gives  no  impression  of 
preaching  a  moral  lesson  there  is,  lurking  back  of  every  line 
and  incident,  a  hidden  meaning  suggesting  greater  and  deeper 
things. 

Sister  Beatrice  and  Ariane  and  Barbe   Bleue;  two 


plays  tr.  into  English  verses  from  the  manuscript,  by 
Bernard  Miall.  183  p.  D.  N.  Y.,  1902.  Dodd,  $1.20 
net. 

Published  also  by  G.  Allen.    Lond.,  1902.    D.    3s.  6d. 

.A  simple,  unforced  translation,  the  former  in  blank  verse, 
the  latter  in  irregular  rhymed  verse.  Sister  Beatrice  is 
slight,  without  the  subtlety  of  meaning  or  the  strangeness  of 
atmosphere  that  are  characteristic  of  most  of  the  author's 
work. 

Mr.  Hale  describes  Ariane  and  Barbe  Bleue  as  a 
sort  of  commentary  on  Maeterlinck  by  reason  of  its  sub- 
jectively explanatory  nature.  "Truth  is  not  found  in  the 
beaten  path  of  humanity  but  in  the  secret  depths  of  the  soul 
where  it  is  locked  by  the  force  of  worldly  authority,  conven- 
tion, tradition  and  prudery."  This  doctrine  is  exemplified 
in  Ariane,  when  she  insists  that  of  all  the  keys  that  Blue- 
beard has  given  her,  the  only  one  of  value  is  the  forbidden 
one. 

Reviewed  in  Athenaeum,  May  3,  1902,  1:  554-5;  Critic, 
Sept.,  1902,  41:  275. 

Criticism 

Archer,  William.  Maeterlinck  as  a  pessimist  playwright. 
(See  Fortnightly  Rev.,  Sept.,  1891,  56:  346-54.) 

Burton,  Richard.  Maurice  Maeterlinck;  a  dramatic  im- 
pressionist.  (5ee  Atlantic  Mo.,  Nov.,  1894,  74:  672-80.) 
A  description  of  the  dramatist's  peculiar  qualities  as  re- 
vealed in  his  various  plays,  with  the  addition  of  some  con- 
clusions formed  by  the  writer. 


MAETERLIXCK  45 

Campbell,  Janey  Sevilla.  Impressional  drama.  (See 
Nineteenth  Cent.,  Aug.,  1905,  58:  204-13.) 

To  quote  the  writer,  "There  is  a  tendency  of  thought  toward 
a  psychical  interpretation  of  life,"  and  Maeterlinck  in  his 
Pelleas  and  MHisajide  is  cited  as  an  illustration. 

Chesterton,  Gilbert  Keith.  Dramas  in  whisper.  {See 
his  Books  and  personalities.    1905.    p.  142-.) 

Maeterhnck.  (See  his  Varied  types.  1903.  p.  209-14.) 

Reviewed  in  Nation,  Dec.  24,  1903,  77:  509;  Atlantic  Mo., 
Sept.,  lOai,  94:  423-1;  .Vthenzeum,  Dec.  27,  1902,  2:  845-6. 

Courtney,  William  Leonard.  Development  of  Maurice 
Maeterlinck  and  other  sketches  of  foreign  writers. 
Lend..  1904.     Richards,  3s.  6d.  net. 

The  "other  foreign  writers"  include  Rodenbach,  Huys- 
mans,  D'Annunzio,  TurgeniefT,  Tolstoi  and  Gorky.  Mr. 
Courtney  is  sympathetic  and  acute  in  his  interpretation 
of  Maeterlinck's  philosophy  and  development. 

Reviewed  in  Contemporary  Rev.,  Sept.,  1904,  86:  452-5; 
Athenaeum,  July  10,  1904,  2:  70. 

Crawford,  Virginia  M.  Maurice  Maeterlinck.  (See  her 
Studies  in  foreign  literature.    1899.    p.  139-74.) 

Clearly  written,  enthusiastic  and  fairly  thoughtful  essays 
on  the  symbolists. 

Reviewed  in  Bookman,  Mar.,  1900,  11:  89-90;  Nation, 
Dec.  21,  1899,  69:  472-3. 

Daniels,  E.  D.  Cursory  review  of  symbolism  in  Maeter- 
linck's  The   blind.      (See  Poet-lore,  1901,  13:   554-60). 

Henderson,  Archibald.  Maurice  Maeterlinck,  sym- 
bolist and  mystic.  (See  Arena,  Feb.,  1906,  35:  115- 
24.) 

M.  Maurice  Maeterlinck,  moralist  and  artist.  (See 
Living  Age,  July,  1901,  230:  201-20.) 

Publish'^d  also  in  the  Edinburgh  Rev.,  Apr.,  1901,  193:  350- 


t  i . 


Maeterlinck,  Maurice.  Evolution  of  mystery;  tr.  by 
Alfred  Sutro.  (See  Fortnightly  Rev.,  May,  1900, 
73:899-921.) 

Valuable  as  Maeterlinck's  own  explanation  of  the  pre- 
dominant element  in  his  plays.  His  prose  essays  furnish  the 
best  clue  to  his  aims  and  ideals  and  the  best  method  of  un- 
raveling his  mystical  puzzles. 

(The)   modem  drama;  tr.  by  .Alfred  Sutro.     (See 

his  The  double  garden.    1904.    p.  115-35.) 

Of  value  for  a  close  study  of  the  ideas  that  are  at  the  bottom 
of  all  his  work.  Marked  by  his  distinction  of  style  and  fresh- 
ness of  vision.     Suggestive  if  not  convincing. 

Published  also  in  the  Cornhill  Mag.,  80:  166-73,  tr.  by  X. 
T.  de  Mattos. 

translator  and  translated.     (See  Independent,  Sept. 


16,  1909,  67:  666-8.) 
Review  of  Maeterlinck's  translation  of  Macbeth. 

Maeterlinck,  Mme.  Maurice.  Later  heroines  of  Mau- 
rice Maeterlinck.  (See  Fortnightly  Rev.,  Jan.,  1910, 
93:48-56.) 

Divides  his  later  heroines  into  the  naive  woman  and  the 
woman  who  dares,  with  particular  reference  to  Aglavaine, 
Joyzelle,  Monna  Vanna  and  Ariane. 

Summarized  in  Current  Literature,  May,  1910,  48:  554-8. 
Maeterlinck's  methods  of  life  and  work.    (See  Con- 
temporary Rev.,  Nov.,  1910.  98:  552-7.) 
Summarized  in  Review  of  Rev.,  Dec,  1910,  42:  729-30. 
Maeterlinck's   exit   from   shadowland.      (See   Current 
Literature,  Dec,  1910,  49:  667-9.) 


FERLI^^^^ 


46  MAETERLI 


Maurice   Maeterlinck     {See   Living  Age,   Oct.,    1902, 

235:  l'J3-l'U5). 

"Discusses  the  growing  realistic  and  optimistic  elements  in 
his  later  work. 
Newman,  Ernest.    Maeterlinck  and  music.    (See  Atlan- 
tic Mo.,  Dec,  lyUl,  88:  769-77.) 

Emphasizes    the    sympathy    in    dramatic    theory    between 
Wagner,  the  musician,  and  Maeterlinck,  the  mystic. 
Nordau,  Max.     Maurice  Maeterlinck.     {See  his  Degen- 
eration.   189.5.    p.  232-40.) 
Osgood,  Hamilton.     Maeterlinck  and  Emerson.     {See 
Arena,   Mar.,   1896.  15:  563-73.) 
Trai.(.s  iMiierson's  influence  upon  Maeterlinck. 
Phelps,  Albert.     Later  work  of  Maurice  Maeterlinck, 
{See  Poet-lore,  July-Sept.,  1899.  11:  357-72.) 

Discusses  the  metaphysical  ideas  of  wisdom,  destiny,  love 
and  justice  as  handled  by   Maeterlinck  in  his  essays,  and  is 
remotely  of  interest  as  a  study  of  his  plays. 
Phelps,   William  Lyon.      Maeterlinck  and   Browning. 
{See  Independent,  55:  552-4.  1398-1400.) 

Gives  the  reasons  for  the    similarity    between    Luria    and 
Monna  Vanna.  and  a  reply  to  the  same. 
Pidoiix,   Magdeleine.      Maurice  Maeterlinck  at  home. 
{See  Bookman.  Jan..  1901.  12:  104-7.) 
A  good  biographical  sketch. 
Ropes,  Arthur  R.     Maeterlinck.     {See  Contemporary 
Rev.,  Mar.,  1900,  77:  422-36.) 

This  review   may  be  summed   up  in  the  following  quota- 
tion: "Maeterlinck  has  suggested  much,  but  achieved  little." 
Soissons,  S.  C.  de.     Maeterlinck  as  a  reformer  of  the 
drama.    {See  Contemporary  Rev..  Nov.,  1904,  86:  699- 
708.) 

A  staunch  defense  of  Maeterlinck  against  his  would-be 
critics. 
Steiner,  Edward  A.  A  visit  to  Maeterlinck.  {See  Out- 
look, Nov.  16.  1901,  69:  701-3.) 
Strang,  Lewis  C.  Sudermann  and  Maeterlinck.  {See 
his  Plavers  and  plays  of  the  last  quarter  of  a  century. 
1903.    'v.  2.     p.  259-71.) 

Biographical  sketches  and  critical  estimates  of  the  famous 
actors  and  actresses  of  the  last  twenty-five  years  and  the 
plays  in  which  they  appeared. 
Symons,  Arthur.  Maeterlinck  as  a  mystic.  {See  his 
Symbolist  movement  in  literature.  1899.  p.  153-68.) 
A  subtle  book,  containing  a  number  of  charmingly  written 
essays,  fresh  and  vivid  with  the  thought  of  a  critic  who  be- 
longs to  the  school  of  symbolists. 

Reviewed  in  Athenffium,  Mar.  24,  1900,  1:  360. 
Thorold,  A.     Six  masters  in  disillusion.     N.  Y.,  1909. 
$1.50. 

Discusses  Fontenelle,  M€rimee,  Fabre,  Huysmans.  Maeter- 
linck. Anatole  France. 

Reviewed   in  Current    Literature.  Aug.,   1909,  47:    160-4. 
(p.  160^2  deal  with  Maeterlinck.) 
Transformation  of  Maeterlinck.    {See  Current  Litera- 
ture, Mar.,  1909.  46:  285-8.) 

Discusses    Maeterlinck's   development   from    pessimism   to 
optimism. 
Walkley,  Arthur  Bingham.      Maeterlinck.     {See  his 
Frames  of  mind.      1899.) 

"Displays    a    praiseworthy    and    varied    erudition.     Illum- 
inating and  pleasant."     Saturday  Rev.,  115:  40. 
Zangwill,  Israel.    Men,  women  and  books.    {See  Critic, 
June  22.  1895,  26:  451-3.) 


PHILLIPS 

Phillips,  Stephen.   Herod;  a  tragedy.   128  p.  D.  Lond.. 
1901.     Lane.  §1.50. 

"A  successful  drama  in  stately  and  beautiful  blank  verse. 
Theme,  the  conflict  between  Herod's  passionate  love  for  his 
queen  and  his  overmastering  self-love  and  ambition." 

Reviewed  in  Saturday   Rev.,  90:  754;  Spectator,  Dec.   15, 

1900,  85:  887;  Athenaeum,  Jan.  5,  1901,  1:  27;  Nation,  Apr. 25, 

1901,  72:  343;  Atlantic  Mo.,  87:  421;  Contemporary  Rev.. 
Jan.,  1901,  79:  32-7.  by  Stephen  Gwynn;  Fortnightly  Rev., 
Jan.,  1901,  75:  178-8G;  Forum,  Dec,  1909,  42:  578-9. 

Nero.  200  p.  D.   N.  Y.,  1906.   Macmillan,  SI. 25. 

A  spectacular  drama  of  high  literary  quality  and  finished 

workmanship,  opening  with   the  murder  of  Claudius  and 

ending  with  the  burning  of  Rome. 

Reviewed  in  .'Academy,  Mar.,  1906,  70:  223;  Spectator, 
Mar.,  1906,  96:  426;  Nation.  Apr.  19, 1906,  82:  325;  Fortnightly 
Rev.,  Jan.,  1906,  86:  83-95,  by  J.  S.  Roberts;  Outlook,  Mar.  9, 
1907,  85:  572. 

Paolo    and    Francesca;    a    tragedy    in    four    acts. 


120  p.  D.  Lond.,  1903.   Lane,  S1.50. 

"A  rarely  beautiful  poem  which  is  at  the  same  time  a  fairly 
good  acting  drama,  based  on  the  story  of  Paolo  and  Fran- 
cesca as  told  by  Dante.  It  combines  in  a  remarkable  way  the 
simplicity,  unity  and  restraint  of  the  Greek  drama  with  the 
passion  and  color  of  modern  dramatic  art.  The  whole  is 
instinct  with  the  utmost  purity  and  delicacy  of  feeling.  It 
unquestionably  places  Mr.  Phillips  in  the  first  rank  of  modern 
dramatists  and  modern  poets."     Saturday  Revieu'. 

Reviewed  in  Ainger,  Rev.  Alfred,  Lectures  and  essays, 
V.  2,  p.  168-81;  Athenaeum,  Jan.,  1900.  1:  6;  Dial,  Jan.  16, 
1900.  28:  49,  by  W.  M.  Payne;  Forum,  Mar..  1900,  29:  116-28, 
by  W.  P.  Trent;  Nation.  May  10,  1900,  70:  361;  Nineteenth 
Cent.,  Dec,  1899,  46:  915-33,  by  Sidney  Colvin;  Saturday 
Rev.,  Dec.  9,  1899,  88:  sup.  5;  Spectator,  Dec.  2,  1899,  83:  839. 

Pietro  of  Siena.   82  p.  D.    N.  Y..  1910.   Macmillan. 

$1. 

Pietro,  who  overthrows  Luigi,  ruler  of  Siena,  spares  his  life 
because  of  love  for  Gemma,  sister  of  Luigi,  and  the  threat- 
ened tragedy  comes  to  a  happy  conclusion.  Though  the  action 
is  confined  between  sunrise  and  sunset  the  work  is  an  example 
of  skilful  rhetoric  rather  than  of  powerful  drama. 
Reviewed  in  Spectator,  Nov.  26,  1910.  105:  912. 


Sin  of  David.    141  p.  D.    N.  Y.,  1904.    Macmillan. 

$1.25. 

"A  modern  version  of  the  Hebrew  story  of  David,  Uriah 
and  Bathsheba.  Scene,  England  during  the  Cromwellian 
wars." 

While  it  lacks  true  dramatic  fire  it  still  ranks  in  the  class 
with  Herod  and  Ulysses  for  its  purely  literary  quality.  "Has 
the  general  air  of  being  better  designed  for  the  closet  than  the 
stage." 

Reviewed  in  .\thenaeum,  Feb.  4.  1905,  1:  155;  Nation.  Jan. 
26,  1905,  80:  72;  Spectator,  Nov.  26.  1904,  93:  837-8;  Dial,  Jan. 
16.  1905,  38:  47;  Bookman,  Feb.,  1905,  20:  554. 

47 


48  PHILLIPS 


Phillips,  Stephen.  Ulysses;  a  drama  in  a  prologue 
and  three  acts.  148  p.  D.  N.  V..  1902.  Macmillan, 
SI. 25. 

Selected  episodes  from  the  Odyssey  "rearranged,  reimagined, 
unsparingly  accelerated  and  cut  down." 

"A  poem  that  can  be  read  (except  for  the  prolopuc)  with 
unalloyed  satisfaction,  and  a  play  that  deserves  to  hold  the 
stage." 

Reviewed  in  Dial,  May  1,  1902,  32:  317;  Saturday  Rev., 
Feb.  22.  1902,  93:  236-7;  Spectator,  Feb.  15,  1902,  88:  254-5; 
Atlantic  Mo.,  .\pr..  1902,  89:  565-7;  Bookman,  Apr.,  1902,  15: 
168-70,  by  Edith  Wharton;  Nineteenth  Cent.,  Mar.,  1902, 
51:  434-13.  by  Stephen  Gwynn;  Poet-lore,  Oct.,  1902,  14:  126. 

and  Carr,  J.  Comyns.     Faust;  freely  adapted  from 

GcEthe's  dramatic  poe'm.  239  p.  D.  N.  Y.,  1908.  Mac- 
millan, SI. 25. 

"Free  paraphrase  of  Goethe's  poem  which  presents  the  main 
events  of  the  legend  with  a  more  narrow  continuity  of  narra- 
tive." Although  a  meritorious  effort,  it  cannot  be  considered 
a  dangerous  competitor  of  its  original. 

Reviewed  in  Atlantic,  Dec,  1908,  102:  812;  Bookman,  Dec, 
1908,  28:  303-4;  Current  Literature,  Nov.,  1908,  43:  551-2; 
Forum,  Sept.,  1908,  40:  221-4;  Nation,  Sept.  24,  1908,  37: 
294-5. 


Criticism 

Archer,  William.  Real  conversations;  Conversation  III 
with  Mr.  Stephen  Phillips.  {See  Critic,  June,  1901, 
38:  504-11.) 

The  conversation  is  concerned  with  Ulysses  in  particular 
and  the  drama  in  general.     Of  moderate  interest. 

Stephen  Phillips.      (See  his  Poets  of  the  younger 

generation.     1902,  p.  309-54.) 

Mainly  devoted  to  Phillips,  the  poet.  The  long  criticism 
of  Herod  and  Paolo  and  Francesca  is  divided  sanely  between 
praise  and  fault  finding. 

Boynton,  Henry  Walcott.    Poetrv  and  the  stage.    {See 
Atlantic  Mo.,  July,  1903,  92:  120-6.) 
•\  prophecy  of  the  stage  success  of  Paolo  and  Francesca. 

Gosse,  Edmund.  Revival  of  poetic  drama.  {See  Atlan- 
tic Mo.,  Aug.,  1902,  90:  156-66.) 

A  cheerful  essay,  calling  attention  to  the  injudicious  praise 
that  has  been  heaped  upon  Phillips,  yet  prophesying  a  greater 
development  of  his  powers  in  the  future. 

Stephen  Phillips.     {See  Century  Mag.,  Jan.,  1901, 

61 :  4.30-3.) 

.4  personal  sketch. 

Gwynn,  Stephen.     Poetry  and  the  stage.     {See  Fort- 
nightly Rev.,  Feb.,  1909,  91:  337-51.) 
Same  article  in  Living  .Age,  Apr.  3,  1909,  261:  3-14. 
General  discussion  of  Phillips'  merits  as  poet  and  dramatist. 

Hellems,  F.  B.  R.  Stephen  Phillips  as  a  writer  of 
tragedy.    Atlantic  Mo.,  Dec,  1908,  102:  809-21. 

Henderson,  Archibald.  Stephen  Phillips;  poet  and 
dramatist.    {See  Arena,  May,  1905,  33:  474-81.) 

Mr.  Henderson's  criticisms  indicate  a  wide  and  general 
reading  along  dramatic  lines,  but  reveal  no  serious  study  of 
Phillips. 

Howells,  William  Dean.    The  new  poetic  drama.    {See 
North  American  Rev.,  May,  1901,  172:  794-800.) 
A  comparison  of  Phillips  with  Rostand. 


PHILLIPS  49 

Le  Gallienne,  Richard.     Poetry  of  Stephen  Phillips. 
(See  Bookman,  Mar.,  1901,  13:  24-9.) 
Secondarily  the  article  considers  Herod  and  other  tragedies. 

Mr.  Stephen  Phillips.    {See  Quarterly  Rev.,  195:  486- 

50(J.j 

A  critical  and  biographical  study  of  Phillips  in  which  his 
originality,  influence,  success  in  poetic  drama  and  the  reasons 
for  his  popularity  are  discussed. 

Published  also  in  Living  Age,  June,  1902.  233:  641-50. 

Porter,     Charlotte.       Phillips'    Paolo    and    Francesca 

and    Swinburne's    Rosamund.     (See    Poet-lore,    Jan.- 
Mar..  1900,  12:  120-36.) 

Recent  British  poetry.    (See  Nation,  70:  361.) 
.'\  comparison  between  Swinburne  and  Phillips. 

Savage,  Ernest  A.    Stephen  Phillips.    (See  Westminster     ^ 

Rev.,  Aug.,  1901,  156:  187-96.) 
Th-  dramatic  works  of  Phillips  are  criticized  at  length. 

Symons,  Arthur.   Mr.  Stephen  Phillips.  (See  his  Studies 
in  prose  and  verse.      1904.    p.  242-60.) 

A  significant  book  of  criticism  by  a  distinguished  literary 
critic. 
Todhunter,   John.      Blank  verse  on   the  stage.      (See 
Fortnightly  Rev.,  Feb.,  1902.  77:  346-60.) 

Mainly  concerned  with  Stephen  Phillips.  A  close  study 
of  his  metre  with  some  comparisons. 

Poetic    drama,    and    its    prospects    on    the   stage. 

(See  Fortnightly  Rev.,  Apr.,  1902,  77:  713-25.) 
Makes  special  reference  to  Phillips. 
Wharton,   Mrs.   Edith.     The  three  Francescas.     (See 
North  American  Rev.,  July,  1902,  175:  17-30.) 
-•^  comparison  of  Phillips,  Crawford  and  D'Annunzio. 
Wodehouse,  E.  A.    Valuation  of  Mr.  Stephen  Phillips. 
(See  Fortnightly  Rev.,  May,  1905,  83:  830-42.) 


PINERO 

Pinero,  Sir  Arthur  Wing.  (The)  Amazons;  a  farcical 
romance  in  three  acts.  1G9  p.  D.  Lond.  Heinemann, 
2s.  6d. 

Published  also  by  VV. H.Baker.  Bost.,1895.  189  p.D.  paper. 
50c. 

A  whimsical  and  extravagant  satire  on  the  tendency  to  edu- 
cate girls  in  masculine  pursuits. 

"It  is  too  flimsy,  both  in  conception  and  execution,  to  with- 
stand the  strain  of  critical  examination.  It  has,  how^ever, 
the  distinguished  merit  of  being  amusing  and  cleverly  written." 
Critic. 

Reviewed  in  Athenaeum.  Mar.,  1893,  1:  322;  Critic.  Feb.  24, 
1894,  24:  136-7. 

Benefit  of  the  doubt.  300  p.  S.  Lond.,  1895.  Heine- 


mann, 2s.  6d. 

"In  its  vigorous  satire  of  social  affectations  and  follies  it  may 
in  its  class  stand  comparison  with  most  past  and  any  present 
work.  As  a  study  in  feminine  nature  little  in  Ibsen  is  more 
revolutionary  and  little  in  Balzac  more  profound."   Alhenaum. 

Reviewed  in  Athenaeum,  Oct.,  1895,  2:  542;  Critic,  Nov.  2, 
1895,  27:  283,  by  Arthur  Waugh;  Jan.  18,  1895,  28:  49;  Satur- 
day Rev.,  Oct.  19,  1895,  80:  503-04,  by  G.  B.  Shaw. 

Cabinet  minister;  a  farce  in  four  acts.    202  p.  D. 


Lond.,  1892.    Heinemann,  2s.  6d. 

Published  also  by  W.H.  Baker.    Bost.,1894.    D.    paper.  50c. 

Deals  with  the  perplexities  of  the  wife  of  a  Cabinet  minister 
who.  to  escape  a  financial  crisis,  accepts  the  aid  of  an  im- 
possible money-lender  who  demands  social  recognition  in 
return.  The  characters  are  skilfully  and  humorously  drawn 
but  the  work  as  a  whole  is  little  more  than  an  amusing  series 
of  episodes. 

Reviewed  in  Academy,  July  19,  1890,  38:  56;  Athenaeum, 
Apr.,  1890,  1:  541;  June,  1905,  1:  731;  Critic,  Mar.  26,  1892,20: 
182;  Gentleman's  Mag.,  Mar.,  1892,  n.  s.  48:  319-20,  by  J.  H. 
McCarthy;  Theatre.  June,  1890,  24:  284.  312. 

Dandy  Dick;  a  farce  in  three  acts.      164  p.   D. 


Lond.,  1893.    Heinemann,  2s.  6d. 

A  study  of  middle-class  sporting  life  full  of  humor  and  good- 
natured  cynicism.     Has  had  a  long  and  successful  stage  career. 

Reviewed  in  Academy,  Feb.  5,  1887,  31:  100;  Athenaeum, 
Feb.,  1887.  Critic,  Oct.  15,  1887,  11:  190;  Saturday  Rev., 
Feb.  17,  1900,  by  Max  Beerbohm. 

Gay  Lord  Que.x;  a  comedy  in  four  acts.     226  p.  D. 


Lond.    Heinemann,  2s.  6d. 

Published  also  by  R.  H.  Russell.  N.  Y.,  1900.  186  p.  O. 
$1.25. 

A  study  of  fast  life  among  the  upper  classes.  Severely  criti- 
cized for  insincerity  and  defective  technique  but  notwith- 
standing the  critics,  a  great  stage  success. 

Reviewed  in  Academy,  Apr.  15,  1899,  56:  436-7;  May  17, 
1902,  62:  511-12,  by  Arthur  Symons;  Athenaeum,  Apr.,  1899,1: 
475;  Nov.,  1908,  2:  583;  Critic.  Jan.,  1901,  38:  38-42;  Harper's 
Weekly,  Dec.  1,  1900,  44:  1142,  by  L.  Reamer;  Munsey,  Jan., 
1901,  24:  604-08,  by  J.  R.  Towse;  Saturday  Rev.,  Apr.  15, 
1899,  87:  459-60,  by  Max  Beerbohm. 

Hester's    mystery.      D.     N.  Y.,    n.  d.     S.  French, 


paper.  15c. 

60 


PINERO  51 


One  of  Pinero's  earlier  plays.  The  villain,  in  order  to  force 
the  heroine  to  marry  him,  attempts  to  create  a  mystery  about 
her  unexplained  absence  from  a  boarding  school.  The  mystery 
is  satisfactorily  explained  along  lines  conventional  both  in 
plot  and  style. 

l<.-:viewed  in  Academy,  June  26,  1880,  17:  483;  Athenaeum, 
June,  1880,  1:  772;  Saturday  Rev.,  July  3,  1880,  50:  20. 

Pinero,  Sir  Arthur  Wing.  His  house  in  order;  a 
comedy  in  four  acts.  23U  p.  D.  Lond.,  1906.  Heine- 
mann,  2s.  6d. 

Published  also  by  W.  H.  Baker.   Bost.,  1907.  204  p.  D.  50c. 

A  study  of  the  oppressiveness  and  bigotry  of  middle-class 
English  social  conventions  and  the  vindication  of  a  wife  who 
dared  to  defy  them. 

"So  actual  that  some  people  already  find  it  unnatural.  It, 
isjjust  as  realistic  and  natural  as  Gorky's  "Out  of  the  Depths."  " 
R.  Ross. 

Reviewed  in  Walkley,  .\.  B.,  Drama  and  life,  1908;  .'Academy 
Feb.  10,  190(5,  70:  140-1;  .Athenaeum,  Feb.,  1906,  1:  179; 
Feb.,  1907,  1:  144;  Bookman,  Dec,  1900,  24:  331;  Current 
Literature,  Apr.,  1906,  40:  403-04;  Nov.,  1906,  41:  543-8 
(criticism  and  extracts);  Harper's  Weekly,  Nov.  24,  1906,  50: 
1682,  by  VV.  D.  HowcUs;  Reader,  Aug.,  1906,  8:  333-4;  Satur 
day  Rev.,  Feb.  10,  1906,  101:  167-8. 

Hobby  horse;  a  comedy  in  three  acts.     180  p.  D. 

Lond.,  1892.     Hcinemann,  2s.  6d. 

Published  also  by  VV.  H.  Baker.    Bost.,  1894.  D.    paper.  50c. 

A  satire  on  the  tendency  to  promote  philanthropic  schemes 
as  a  social  pastime.  Bright  and  amusing  rather  than  con- 
vincing. 

Reviewed  in  .\thenaeum,  Oct.,  1886,  2:  576;  Critic,  Nov.  20, 
1886,  9:  253. 

In  chancery;  an  original  fantastic  comedy  in  three 

acts.   72  p.  D.   N.  Y.,  cl905.  S.  French,  50c. 

Study  of  double  personality  due  to  loss  of  memory.  One 
of  the  early  plays,  first  produced  in  1884  and  revived  in  1890. 

"One  of  Mr.  Pinero's  most  humorous  works  with  strongly 
contrasted  characters.  .  .  .  Full  of  mirthful  situations  from 
first  to  last."   Illuslrated  London  News. 

Reviewed  in  Walkley,  A.  B.  Drama  and  life,  1908;  Theatre, 
Jan..  1891,  26:  37^0;  Oct.,  1884,  n.  s.  4:  216-17. 

Iris;  a  drama  in  five  acts.    232  p.  D.    Lond.,  1902. 


Heinemann,  2s.  6d. 

Published  also  by  R.  H.  Russell.  N.  Y.,  1902.  228  p.  D.  .SI; 
also  by  W.  H.  Baker.    Bost.,  1905.    D.    paper.  50c. 

.A.  study  in  the  demoralizing  effect  of  bad  environment. 
Interesting  and  thought  provoking  even  if  somewhat  lacking 
in  the  sympathy  necessary  to  make  a  play  truly  great. 

Reviewed  in  Academy,  Sept.,  28,  1901,  61:  251;  Athenaeum, 
Sept.,  1901,  2:  392;  Dial.  Feb.,  1902.  32:  112-14;  Bookman, 
Nov.,  1902,  16:  280-2;  Critic,  Nov..  1902,  41:  444-5,  by  J.  R. 
Towse;  Fortnightly  Rev.,  Nov.,  1901,  76:  902-10,  by  W.  L. 
Courtney;  Reader,  Dec,  1902.  1:  179-80.  by  J.  D.  Barry. 

Lady  Bountiful;  a  story  of  years;  a  play  in  four 


acts.    200  p.  S.    Lond.,  1892.    Heinemann,  2s.  6d. 

The  effects  of  indiscriminate  liberality  in  money  matters. 
"Distinguished  ...  by  purpose  and  originality  and  possesses 
qualities  of  high  literary  merit.  It  abounds  in  contrasts  of 
character."     Critic. 

Reviewed  in  .Athenaeum,  Mar.,  1891.  1:  354;  Critic,  Nov.  21, 
1891,  19:  2S5;  Theatre,  Apr..  1891,  26:  202-04. 

Letty;  an  original  drama  in  four  acts  and  an  epi- 


logue.  254  p.  D.   Lond.,  1904.   Heinemann,  2s.  6d. 

Published  also  by  W.  H.  Baker.   Bost.,  1905.  225  p.  D.  paper. 
50c. 


52  PIXERO 


The  temptations  of  a  young  girl  exposed  to  rather  dubious 
society.  The  ending  is  conventional  and  the  play  as  a  whole 
is  superficial. 

Reviewed  in  Academy.  Oct.  17,  1903.  65:  418-19;  Jan.  23. 
1904.  OG:  104;  Bookman,  Nov.,  19&1,  20:  184;  Athenaeum, 
Oct.  17.  1903,  2:  .523-4;  Current  Literature,  Nov.,  19tM,  37: 
453-4;  Reader,  Feb..  1905.  5:  361-2;  Saturday  Rev..  Oct.  17. 
24.   1903.  96:  487-9.  511-12.  by  Max   Beerbohm. 

Pinero,  Sir  Arthur  Wing.  Magistrate;  a  farce  in 
three  acts.  178  p.  S.  Lond..  1>S92.     Heinemann.  2s.  6d. 

-Vction  revolves  around  the  attempt  of  a  woman  to  hide  from 
her  second  husband  the  real  ages  of  herself  and  her  son  by 
her  first  husband.  Thoroughly  farcical  without  being  coarse. 
A   great  success  on  the  stage. 

Reviewed  in  .Vcademy.  Mar.  28.  1885.  27:  231;  Jan.  16. 
1886.  29:  50;  Athenaeum,  Mar.,  1885,  1:  418. 

Mid-channel;  a  play  in  four  acts.    224  p.  D.    Bost., 

1910.     W.  H.  Baker,  50c. 

.•V  study  of  middle-class  life  of  low  ideals. 

"A  disagreeable  but  exceedingly  able  work;  a  dreary  tale  set 
forth  with  great  skill  and  compelling  power."      Nation. 

"In  Mid-channel  there  is  but  one  person  who  is  not  saliently 
vulgar  and  this  is  an  elderly  woman  who  has  little  to  do  with 
the  play."     Beerbohm. 

Reviewed  in  Eaton,  W.  P.  At  the  New  Theatre  and 
others,  1910;  Athenaeum,  Sept.  11,  1909,  2:  307-08;  Bookman. 
Mar..  1910.  31:  68-70;  by  C.  Hamilton;  Nation,  Feb.  3,  1910, 
90:  120;  Saturday  Rev.,  Sept.  11.  1909.  108:  310-11,  by  Max 
Beerbohm. 


The  monev  spinner;  an  original  comedy  in  two  acts. 

43  p.  D.   N.  Y.,  1900.   S.  French,  paper.  25c. 

One  of  Pinero's  first  successes.  (Produced  Nov..  1880.) 
The  "money  spinner."  so  called  from  her  skill  at  cards,  risks 
disgrace  to  save  her  husband  from  financial  ruin.  While 
conventional  in  theme  the  play  shows  promise  of  the  author's 
later  success  in  stagecraft  and  character  delineation. 

Reviewed  in  Academy,  Jan.  29,  1881,  19:  89;  Critic,  Jan.  28. 
1882.  2:  30;  Theatre.  Feb..  1881.  n.  s.  3:  113-14;  Dec.  1880. 
n.  s.  2:  372-3. 

Notorious  Mrs.  Ebbsmith;  a  drama  in  four  acts. 

232  p.  D.    Lond.,  1895.    Heinemann.'  2s.  6d. 

Published  also  by  W.  H.  Baker.  Bost..  1900.  200  p.  S.  paper. 
50c. 

Generally  considered  one  of  the  author's  best  plays. 

"He  has  used  the  popular  sex  interest  as  a  peg  on  which  to 
hang  a  problem  of  far  finer  value  —  the  fallacy  of  resigning 
our  ideals  to  suit  the  exigencv  of  our  environment."  A  .  Waugh. 

Reviewed  in  Academy.  Mar.  23,  1895.  47:  262-3.  by  W.  H. 
Davenport  Adams;  Athenaeum.  Mar..  1895.  1:  353;  Critic. 
Mar.  30.  1895,  26:  248;  May  18,  1895,  26:  356,  bv  I.  Zangvvill. 
Saturday  Rev..  Mar.  9.  1901.  91:  300-1.  by  Max  Beerbohm. 

Preserving  Mr.  Panmure;  a  comic  plav  in  four  acts. 

137  p.  D.    Lond..  1910.    Chiswick  Press. 

Pinero's  latest  production.  Excellent  in  its  stage-craft  but 
perilously  near  bad  taste  in  parts.  The  setting,  like  all  of 
Pinero's  later  work,  involves  much  social  vulgarity. 

Reviewed  in  .Athenaeum,  Jan..  1911.  1:  107;  Academy. 
Jan.  28,  1911,  80:  108-10;  Saturday  Rev..  Jan.  28.  1911,  111: 
75. 

Princess  and  the  butterfly,   or  The  fantastics;    a 


comedy  in  five  acts.     250  p.  D.    Lond.,  1898.    Heine- 
mann, 2s.  6d. 


PIXERO  53 


Published  also  by  S.  French.   N.  Y.  D.  50c. 

A  fantastic  sketch  centerinR  around  two  middle-aged  char- 
acters who  demonstrate  the  perennial  youth  of  love. 

"A  good  old-fashioned,  well-seasoned  bit  of  sentimental 
drawing-room  fiction."     G.  B.  Shaw. 

Reviewed  in  .-Academy,  Apr.  3,  1897,  51:  383-4.  by  G.  B. 
Shaw;  Athenaeum,  Apr.  3,  1897,  1:  454;  Critic,  Apr.  17,  1897, 
30:  277,  by  Arthur  Waugh;  Nov.  27.  1897,  31:  327-8;  Fort- 
nightly Rev.,  May,  1897.  67:  740-56,  by  \V.  L.  Courtney; 
Saturday  Rev.,  Apr.  3,  1897,  83:  348-9,  by  G.  B.  Shaw. 

Pinero,  Sir  Arthur  Wing.  (The)  profligate;  a  play  in 
four  acts.      14S  p.  S.  Lonfl.,  1891.    Heinemann,  2s.  6d. 

Published  also  by  \V.  H.  Baker.    Bost.,  1894.    D.  paper.  50c. 

Shows  the  retribution  which  comes  from  a  dissolute  life  and 
the  power  of  a  good  woman  in  uplifting  a  man.  A  powerful, 
unconventional  play. 

Reviewed  in  Athenaeum,  Apr.  1889,  1:  546;  Academy,  June 
8,  1889.  35:  403-04,  by  Frederick  VVedmore;  Theatre,  May  7, 
1889,  13:  322-4;  June,  1889,  22:  331-4. 

(The)    rocket;   an   original  comedy   in   three  acts. 


80  p.  D.    N.  Y.  1905.    S.  French,  50c. 

A  rascally  old  "Chevalier"  attempts  to  getawealthy  husband 
for  his  pretended  daughter.  Her  real  father,  long  missing, 
returns,  proves  his  relationship  and  the  Chevalier's  dreams 
of  wealth  come  down  like  a  rocket.  Farce  of  the  broadest 
and  most  extravagant  kind,  but  does  not  transgress  the  bounds 
of  good  taste. 

Reviewed  in  Athenaeum,  Dec,  1883,  2:  786;  Saturday  Rev., 
Dec.  29,  1883,  56:834. 

(The)  school-mistress;  a  farce  in  three  acts.      176  p. 


S.     Lond.,  1894.     Heinemann,  2s.  6d. 

Published  also  by  W.  H.  Baker.  Bost.,  1894.  177  p.  D.  paper. 
50c. 

The  mistress  of  a  boarding  school,  in  order  to  keep  her 
impecunious  husband  in  style,  determines  to  go  on  the  stage. 
A  fire  brings  her  home  unexpectedly,  to  her  husband's  dis- 
comfiture. Unpretentious  in  plot  and  treatment,  it  is  a  suc- 
cessful farce. 

Reviewed  in  Academy,  July  3,  1886,  30:  17;  Athenaeum, 
Apr.,  1886,  1:  465;  Theatre,  May  10,  1886,  n.  s.  1 :  228. 

Second  Mrs.  Tanqueray.    202  p.  D.    1-ond.,  1S95. 


Heinemann,  2s.  6d. 

Published  also  by  W.  H.  Baker.  Bost.,  1894.  174  p.  D.  paper. 
50c. 

Probably  the  best  known  and  one  of  the  most  esteemed 
of  the  author's  works.  A  powerful  and  relentless  statement 
of  the  fact  that  a  past  can  never  be  entirely  overcome  even 
with  the  greatest  effort. 

Reviewed  in  Academy,  Feb.  24,  1894,  45:  174-5;  June  10, 
1893,  43:  .509-10,  by  Frederick  Wedmore;  Athenaeum,  Sept., 
1901,  2:  .360;  Critic,  Oct.  14.  1893.  23:  244;  Gentleman's  Mag., 
Jan.,  1894,  276:  98-102;  Saturday  Rev.,  23  Feb.,  1895,  79:  250- 
1,  by  G.  B.  Shaw;  Theatre.  Sept.,  1893,  34:  139^4;  Mar., 
1895.  .37:  152-4,  by  A.  Brereton. 

(The)   squire;  an  original  comedy  in   three    acts. 


81  p.  D.    N.  Y.,  cl905.    S.  French,  paper.    25c. 

This  play  roused  a  storm  of  controversy  when  produced  in 
1882  because  of  its  alleged  resemblances  to  Thomas  Hardy's 
"Far  from  the  madding  crowd." 

(For  both  sides  of  controversy  see  Theatre  Mag.,  Feb.,  Apr., 
Oct.,  1882,  ser.  3,  5:  107-10;  202-04;  6:    246-7.    Oct..  1882.) 

Reviewed  in  .•Vcademy,  Jan.  14,  1882,  21:  34;  Critic,  Oct.  21, 
1882,  2:  287-8. 


64  PINERO 

Pinero,  Sir  Arthur  Wing.  Sweet  Lavender;  a  do- 
iiu-stic  tlrania  in  three  acts.  192  p.  S.  Lond.,  1S93. 
Heineinann,  2s.  Gd. 

PublislK'd  also  by  W.  H.  Baker.     Bost.,  1893.  S.  paper.  50c. 

.\  clean,  wholt-sonic  play  which,  with  all  its  defects,  deserved 
its  long  stage  popularity. 

Reviewed  in  Academy.  Mar.  31,  1888.  33:  228,  by  Frederick 
Wedmore;  Critic.  Nov.  24,  1888,  13:  262-3;  Athenaeum,  Mar., 
1888,  1:  382;  Theatre,  May,  1888.  20:  263-5;  Nov.,  1890: 
25:  234-5. 

(The)  thunderbolt;  an  episode  in  the  history  of  a 


provincial  family;  in  four  acts.  270  p.  D.  Lond.,  1909. 
Heinemann,  2s.  6d. 

Published  also  by  W.  H.  Baker.  Bost.,  1909.  237  p.  D. 
paper.  50c. 

"Has  caught  to  a  nicety  the  manners,  tricks  of  speech  and 
idiosyncrasies  of  many  well-to-do  folk  of  the  midlands.  The 
strength  of  the  piece  lies  in  its  technical  perfection."  Athevirum. 

"It  is  probable  that  Mr.  Pinero  has  never  written  a  play  of 
such  excellence  as  this  one."     Academy. 

Reviewed  in  Academy,  May  16,  1908,  74:  792;  Athenaeum, 
May,  1908,  1:  615;  Bookman,  Jan.,  1911,  32:  464-7,  by  C. 
Hamilton;  Current  Literature,  Feb.,  1911,  50: 184-91(excerpts); 
Everybody's,  Mar.,  1911,  24:  412-14;  Munsey,  Jan.  11,  562- 
3,  bv  M.  White,  Jr.;  Nation,  Oct.  27,  1910,  91:  398;  Nov.  17. 
1910,  91:  479;  Saturday  Rev.,  May  16,  1908,  105:  624-5,  by 
Max  Beerbohm. 

(The)  times;  a  corned V  in  four  acts.  204  p.  S.  Lend., 

1891.    Heinemann,  2s.  6d. 

Published  also  by  W.  H.  Baker.  Bost.,  1894.  D.   paper.  50c. 

.A  wealthy  merchant  with  social  and  parliamentary  ambi- 
tions has  his  plans  frustated  by  the  marriage  of  his  son  to  a 
pretty  but  vulgar  girl. 

"It  lays  bare  no  horrid  social  wound,  it  wrangles  over  no 
vital  problems  of  inextricable  perplexity."     Preface. 

Reviewed  in  Athenaeum,  Oct.,  1891,  2:  593. 

Trelawny  of  the  "Wells";  a  comedietta  in  four  acts. 

224  p.  S.    Lond.,  1899.    Heinemann,  2s.  Gd. 

"The  primary  object  of  it  is  entertainment,  which  it  provides 
in  most  liberal  measure,  and  the  distinctive  merit  of  it  is  that 
the  entertainment  is  not  only  light  but  intellectual."     Critic. 

"Such  dramatic  effect  as  it  embodies  is  obtained  by  contrast, 
the  inner  life  of  the  stage,  with  its  tawdry  squalor  being  thrown 
into  sharp  relief  against  a  background  of  West  End  society." 
Academy. 

Reviewedin  Academy,  Jan.  29,  1898,  53:  133-4;  Athenaum, 
Jan.  3.  1898,  1:  159;  Bookman,  Jan.,  1899,  8:  424-8,  by  Nor- 
man Hapgood;  Critic,  Jan.,  1899,  34:  41-3;  Munsey's  Mag., 
Feb.,  1911,  44:  710;  Saturday  Rev.,  Feb.  5,  1898,  85:  170-2, 
by  G.  B.  Shaw. 

(The)  weaker  sex;  a  comedy  in  three  acts.     p.  S. 

Lond.,  1894.    Heinemann,  2s.  Gd. 

Published  also  by  W.  H.  Baker.  Bost.,  1894.  133  p.  S. 
paper.  50c. 

"Mr.  Pinero's  vigorous  hits  at  a  world  of  'gentlemanly  ladies 
and  zoological  gentlemen.'  "     Academy. 

Reviewed  in  Academy,  Apr.  13, 1889,  35:  260-1,  by  Frederick 
Wedmore;  Athenaeum,  Mar.,  1889,  1:  385;  Theatre;  Apr.,  1889, 
22:  218-20. 

Wife  without  a  smile;  a  comedy  in  disguise.   230  p. 

D.    Lond.,  1905.    Heinemann,  2s.  6d. 

Published  also  by  W.  H.  Baker.  Bost.,  1905.  166  p.  D. 
paper.  50c. 

Severely  criticized  at  the  time  of  its  production  (Oct.,  1904) 
on  account  of  some  ill-advised  stage  effects. 


PINERO  55 

"Dubbed  'a  comedy  in  disguise'  but  in  reality  an  unpleasant 
problem  treated  with  unbecoming  levity.  ...  A  farce  which 
is  not  comic.  .  .  .  When  not  unpleasant  it  degenerates  into 
buffoonery." 

Reviewedin  Academy.  Oct.  22,  1904,67:  367-8;  Athenaeum, 
Oct.  22,  1904.  2:  523;  Saturday  Rev.,  Oct.  22.  29,  1904.  98: 
511-12,  545-6,  by  Max  Beerbohm. 

Pinero,  Sir  Arthur  Wing.  Carr.  J.  Comyns.  and  Sul- 
livan, Sir  Arthur.  (The)  beauty  stone;  an  original 
romantic  musical  drama  in  three  acts.  101  p.  O.  Lond., 
1898.   Chappell  &  Co..  Is 

Libretto  by  Pinero  and  Carr.  Also,  with  music,  Chappell  & 
Co.,  1898.    217  p.  Q.  o.  p. 

"That  Mr.  Pinero  in  association  with  Sir  Arthur  Sullivan 
should  have  failed  to  make  Mephisto  interesting  is  certainly 
a  very  remarkable  fact;  but  so  it  is."     Academy. 

"The  indisputable  dullness  of  their  'Beauty  stone'  comes 
mainly  from  their  pseudo-archaic  manner.  Their  primary 
idea  for  the  play  is  rather  charming.  .  .  .  The  story  of  the 
play  is  pretty  and  simple.  The  scenes  are  nicely  ordered  and 
constructed."     Beerbohm. 

Reviewed  in  Academy.  June  4,  1898,  53:  611-12;  Saturday 
Rev.,  June  4,  1898,  85:  744-5. 

Non-dramatic  Works 

Pinero,    Sir   Arthur   Wing.      Modern   British  drama. 
{See  Theatre,  June,  1895.  37:  346-8.) 
Brief  statement  of  Pinero's  theories  of  dramatic  art. 

Robert  Louis  Stevenson,  the  dramatist;  a  lecture 

delivered  ...  to  the  members  of  the  Philosophical 
Institution  of  Edinburgh  .  .  .  24th  Feb..  1903.  35  p. 
O.     Lond.,  1903.  o.  p. 

Of  considerable  value  not  only  as  an  estimate  of  Stevenson 
but  for  the  author's  excellent  statements  of  the  characteristics 
of  modern  dramatic  art  in  general. 

Published  also  in  Critic,  Apr..  1903.  42:  341-53,  and  printed 
separately  by  Critic  Co..  N.  Y.,  1903.    15  p.  O. 

Reviewed  in  Blackwood's  Mag..  Apr.,  1903.  173:  559-C3. 

Criticism 

Archer,    William.      English   dramatists  of  today.      P. 
Lond..  1882. 
Contains  section  on  Pinero. 

Real    conversations  —  Conversation    I    with    Mr. 


Arthur  VV.  Pinero.    (See  Pall  Mall  Mag.,  Feb.  2,  1901, 
23:388-99.) 

Published  also  by  W.  Heinemann.     Lond.,  1904.     D.     6s. 
(Conversation  with  Pinero.  p.  5-28.) 

Beers,  Henry  A.     English  drama  of  todav.     (See  North 
American  Rev.,  May,  1905,  180:  746-57.) 
Includes  estimate  of  Pinero. 

Borsa,  Mario.     English  stage  of  today.     Lond..  1908. 

S2.50. 

Includes  section  on  Pinero  with  brief  characterizations  of 
some  of  his  best  plays. 

Pinero  and  the  Italian  stage.     (.See  English  Illus- 


trated Mag.,  June.  1901,  25:  216-20.) 
(A)    candid     friend    to    Mr.     A.     W.     Pinero.      (See 
Theatre,  July,  1893,  34:  30-4.) 
Attacks  many  of  Pinero's  mannerisms. 


66  PIXERO 

Filon,  Pierre   Marie   Augustin.     English  stage,  being 
an    account   of    tlie    \'ictorian    drama,    tr.    from    the 
French  by  Frederic  Why te.     N.  Y.   1897.     $2.50. 
Includes  chapter  on  Pinero  giving  a  French  estimate  of  his 

skill  as  a  playwright. 

Fyfe,  H.  Hamilton.    Arthur  Wing  Pinero,  playwright; 
a  study.     250  p.  D.   Lond.,  1902.   Greening  &  Co. 
Includes  "bibliography  of  Mr.  Pinero's  plays,"  p.  231-50. 

Plays  of  Pinero  as  literature.     {See  Theatre,  Dec, 

1S9.5.  3.S:  324-8.) 

Hale,  Edward  Everett,  Jr.    Dramatists  of  today.    1905. 
Includes  section  on  Pinero. 

Hamilton,  J.  A.    Arthur  Wing  Pinero,      {See  Munsey, 
Dec,  1N93,  10:  247-51.) 

Herrmann,  Oscar.   Living  dramatists.    1905. 
Opening  sections  deal  with  Pinero. 

Hyde,  G.  M.     .Arthur  W.  Pinero,  with  bibliography  of 
his  plays.     {See  Book-buyer,  Nov.,  1S98,  17:  301-05.) 

Kobbe,   Gustav.     Plays  of  Arthur  Wing  Pinero.     {See 
Forum,  Sept.,  1898,  26:  119-28.) 
Valuable  for  the  concise  characterization  of  the  different 

plays  mentioned. 

Pinero,  Sir  Arthur  Wing.    Bygones.    1880. 

An  early  play,  delicate  in  touch  but  too  slight  and  conven- 
tional to  be  enduring. 

Reviewed  in  Athenaeum,  Sept.,  1880,  2:  410;  Illustrated 
London  News,  Oct.  2,  1880,  77:  327. 

Daisy's  escape.     1879. 

The  heroine  narrowly  escapes  eloping  with  a  cad  by  meeting 
the  right  man  at  the  psychological  moment.  A  forerunner 
of  the  author's  later  and  better  farces,  but  with  slight  merit 
of  its  own. 

Reviewed  in  Athenaeum,  Sept.,  1879,  2:  412;  Theatre,  Oct., 
1879,  ser.  3,v.  3:164. 


Girls  and  boys.     1882. 


"Dramatic  contrast  between  simplicity  and  worldliness." 
Theatre. 

Reviewed  in  Athenaeum,  Nov.  1882,  2:  606;  Saturday  Rev., 
Nov.  25,  1882,  54:  700;  Theatre,  Dec,  1882,  ser.  3,  6:  355-7. 

Imprudence.     1881. 

"An  attempt  to  imitate  the  extravagant  class  of  French 
pieces  associated  with  the  name  of  the  Palais  Royal.  .  .  . 
More  complicated  than  ingenious."     Graphic. 

Reviewed  in  Saturday  Rev.,  Aug.  6,  1881,  52:  171;  Theatre, 
Sept.  1,  1881,  3d  ser.,  4:  74-7. 

Iron  master.     1884. 


A  close  paraphase  of  "Le  maitre  des  forges." 

"A  strong  rather  than  a  pleasing  or  sympathetic  work." 

Alhencsum. 

Reviewed  in  Athenaeum,  Apr.,  1884,  1:  546;  Theatre.  1881. 

n.  s.,  V.  2:  263-5. 

Lords  and  commons.     1883. 


A  healthy  social  study,  based  on  the  Swedish  Mannen  af 
bord  och  gvinnan  af  lovel. 

Reviewed  in  Academy,  Dec.  1,  1883,  24:  371-2,  by  F. 
Wedmore;  Athenaeum,  Dec,  1883,  2:  710;  Theatre,  Jan.,  1884, 
n.  s.,  v.  3:  1-7. 

Low  water.     1884. 


A  stage  failure  and  disclaimed  by  its  author  but  interesting 
as  an  example  of  the  differences  of  critical  opinions  regarding 
the  author. 


PINERO  87 

Reviewed  in  Academy,  Jan.  26,  1884,  25:  69;  Athenaeum, 
Jan.,  1884,  1:  97;  Saturday  Rev.,  Jan.  19,  1884.  57:  83;  Theatre, 
Feb.,  1884,  n.  s.,  v.  3:  86-8. 

Pinero,  Sir  Arthur  Wing.     Mayfair.     1885. 

English  version  of  Sardous  "Maison  neuve."  The  improba- 
bility of  the  plot  spoils  the  dialogue. 

Reviewed  in  Athenaeum,  Nov.,  1885,  2:  613. 

Rector;  a  story  of  four  friends.     1883. 

An  unsuccessful  play  with  many  good  points  of  dialogue 
and  character  drawing. 

Reviewed  in  Athenaeum,  Mar.,  1883,  1:  419;  Academy,  Apr. 
7,  1883,  23:  248. 

Pinero  and  his  critics.     {See   Blackwood's  Mag.,  June, 

I'.IOO,  167:  837-40.) 
Pinero  and   the  literary  drama.       {See  Theatre,  July, 

1.S93,  34:  3-8.) 
Pinero's   skill  as  a   dramatist.     {See   Nation,   Sept.   6, 

1906,  83:  211.) 
Recent   English   dramatists.     129   p.   O.      Phil.,    1901. 

(Booklovers'  library.)   o.  p. 
Includi-s  criticisms  of  Pinero. 

Rideing,  W.  H.    Some  women  of  Pinero's.    {See  North 
American  Rev.,  July,  1908,  188:  38-49.) 

Salaman,  M.  C.     Pinero,  the  man  and  the  dramatist. 
{See  Cassell's  family  mag.,  Sept.,  1899,  n.  s.  19:  354- 
62.) 
Popular,  illustrated  sketch. 

Sharp,    R.    Farquharson.       Pinero   and    farce.     {See 
Theatre,  Oct.,  1N92,  29:  1.54-7.) 
Criticism  of  the  comic  elements  of  his  earlier  plays. 

Tarpley,   W.   Kingsley.   English  dramatists  of  today. 
{Sec  Critic.  Aug.,  1900,  37:  117-23.) 

Walkley,  Arthur  Bingham.   Drama  and  life.     1908. 
Includes  criticism  of  several  of  Pinero's  best  plays.      Lelty, 
His  house  in  order,  etc. 

Playhouse  impressions.     Lond.,  1892. 

Criticisms  of  several   of   Pinero's   works   by   a   well-known 
dramatic  critic. 
Waugh,  Arthur.    London  letter.    {See  Critic,  Feb.  24, 
1S94,  24:  1:^4.) 
General  criticism  of  Pinero's  ability  as  a  playwright. 

Wedmore,  Sir  Frederick.      Literature  and  the  theatre. 
{See  Ninteenth  Century,  Apr.  1902.  51:  568-80.) 

Incidentally  compares  Pinero  with  two  French  contempo- 
raries, Becque  and  Hervieu. 


ROSTAND 

Rostand,  Edmond.  Chantecler;  a  play  in  four  acts;  tr. 
by  Gertrude  Hall.    D.    N.  Y.,  1910.    Duffield,  SI. 25. 

"Chantecler,  sure  that  his  song  makes  the  sun  rise,  loves  the 
beautiful  hen-pheasant.  She,  jealous  of  his  devotion  to 
the  dawn,  tricks  him  into  neglecting  his  morning  song.  The 
sun  rises  without  it,  to  Chantecler's  great  surprise  and  dis- 
apfKjintment,  but  he  rises  superior  to  his  disillusionment,  and 
the  pheasant  in  remorse  risks  her  life  to  save  his  from  a  sudden 
danger.  A  strong  social  satire  in  the  symbolic  form  of  a  barn- 
yard drama." 

Reviewed  in  Bookman.  Oct.,  1910.  32:  154-5;  Mar.,  1911. 
33:  19-27;  Book  News,  Oct.,  1910.  29:  85-91;  Current  Litera- 
ture, Mar.,  1911,  50:  313-15;  Delineator.  Feb.,  1911,  97:  94. 
159-60;  Dial,  Aug.  16,  1910.  49:  84;  Independent,  Feb.  23. 
1911,  70:  406-07;  Literary  Digest,  Feb.  4,  1911.  42:  208-09; 
Nation,  Sept.  15,  1910,  91:  249;  Munsey.  Mar..  1911.  44:  871- 
2;  Outlook,  Oct.  29.  1910,  96:  575;  Feb.  4,  1911,  97:  251-2; 
Libermer,  M.  F..  Story  of  Chantecler.  97  p.  D.  N.  Y..  1910. 
Moffatt.  75c. 

Cyrano  de  Bergerac;  a  play  in  five  acts;  tr.  from 


the  French  by  Gladys  Thomas  and  M.  F.  Guillemard. 
294  p.  D.    N.  Y..  1900.    Russell,  $1. 

A  romantic  play  of  high  literary  and  histrionic  value.  Of 
the  translations  this  in  blank  verse  is  perhaps  the  best.  N.  Y. 
State  Library,  Bulletin  of  Best  Books. 

Cyrano  de  Bergerac;  an  heroic  comedy  in  five  acts; 


tr.  from  the  French  by  Charles  Renauld,  with  an  intro- 
duction by  Adolphe  Cohn.  233  p.  D.  N.  Y.,  cl898. 
Stokes,  50c. 

Cyrano  de  Bergerac;  tr.  from  the  French  by  Ger- 


trude Hall.  235  p.  S.  N.  Y..  1898.  Doubleday.  50c. 
Reviewed  in  Archer,  William,  Study  and  stage,  1899, 
p.  44-50;  Crawford,  V.  M.,  Studies  in  foreign  literature, 
1899.  p.  27-48;  Poet-lore.  Jan.-Mar..  1899.  11:  118-24;  Nine- 
teenth Cent.,  July,  1898,  44:  102-15.  by  Stanley  Young; 
Athenaeum,  Apr.  28,  1900,  1 :  538  (Rev.  of  the  Ogilvie  &  Parker 
translation) ;  Forum,  Dec,  1898,26:  502-12,  by  Gustave  Kobbe; 
Saturday  Rev.,  86:  42;  89:  524,  by  Max  Beerbohm;  National 
Mag.,  9:  471,  Coquelin's  French  version  of  the  play,  by  P.  S. 
Vimbert;  Bookman,  Dec,  1899.  11:  363-6.  by  Paul  Wilstach. 
Scribner's  Mo..  Nov.,  1908,  44:  533-41.  by  P.  Wilstach. 

Cyrano,  Rostand,  Coquelin.    {See  Current  Literature, 

July,  1900.  29:  26-7.) 

Extract  from  Eliot  Gregory's  Reading  from  the  Ways  of 
Men. 

Rostand,  Edmond.  (The)  Fantasticks;  a  romantic 
comedy  in  three  acts;  freely  done  into  English  verse  by 
George  Fleming.     150  p.  D.  N.  Y.  Heinemann,  2s.  6d. 

La  Princesse  Lointaine  (The  princess  Far-away); 

a  play  in  four  acts  in  verse;  tr.  into  English  verse  with 
a  preface  by  Charles  Renauld.  110  p.  D.  N.  Y., 
cl899.     Stokes.  50c. 

A  poor  translation. 

Reviewed  in  Saturday  Rev.,  June  22,  1895,  79:  828-9.  by 
G.  B.  Shaw. 

58 


ROSTAND  59 

Rostand,  Edmond.  L'Aiglon;  a  play  in  six  acts; 
adapted  into  English  by  L.  N.  Parker.  2G1  p.  O.  N.  Y., 
1900.  Russell,  SI. 50. 

This  tragedy,  with  its  poor,  weak  little  hero  (the  young 
king  of  Rome,  son  of  Napoleon  I),  its  frivolity  and  its  de- 
cadent circumstance,  makes  a  stronger  effect  than  Cyrano  — 
stronger  even  though  less  obvious. 

Reviewed  in  Adrich,  T.  B.,  Note  on  L'Aiglon.  (See  his 
Ponkapog   papers.      1903.      p.   73-81);   Athenaium,    Mar.    17, 

1900,  1:  334-5,  by  Jules  Claretie;  June  8.  1901,  1:  735;  Nation, 
May  10.  1900,  70:  356-7;  Feb.  7,  1901,  72:  114. 

The  romancers;  a  comedy  in  three  acts;  tr.  by  Mary 

Hendee.   134  p.   S.    N.   Y..    1899.      Doubleday.    50c. 
net. 

"Scene  is  laid  in  a  bright  garden  of  flowers  and  trees,  with- 
out regard  to  special  time  or  place.  Fanciful,  jesting,  and 
gay  —  a  merry  burlesque  of  the  scheme  of  Romeo  and  Juliet." 
A.  Henderson. 

"A  remarkable  play  in  execution."     Jules  Lemaitre. 
Reviewed  in  Athenaeum,  June  2, 1900, 1 :  699. 

Criticism 

(The)  case  against  Rostand.     (.See  Bookman,  Nov.,  1910, 

32:  217-18.) 
Chesterton,  Gilbert  Keith.    Rostand.    (See  his  Varied 

types.      1903.     p.  73-82.) 
For  reviews  see  G.  K.  Chesterton  entry  under  Maeterlinck. 

Filon,  Augustin.  [P.  M.]  Modern  French  drama,  seven 
essays,  tr.  by  J.  E.  Hogarth,  with  an  introd.  by  W.  L. 
Courtney.   304  p.  D.    Lond.,  1898.    Chapman,  7s.  6d. 

Reprinted  from  Fortnightly  Rev.,  July,  1898,  70:  98-114. 

Chapter  7  is  a  criticism  of  Cyrano  de  Bergerac  with  a  few 
personal  notes  on  the  original  Cyrano  and   Rostand  himself. 

Hapgood,  Norman.  Rostand.  (See  his  Stage  in  America, 
1897-1900.      1901.     p.  249-78.) 
Criticism  of  Rostand's  plays  and  the  acting  of  them. 

Henderson,  Archibald.  The  theatre  of  Edmond  Ros- 
tand.     {See  Arena,  Sept.,  1905,  34:  225-.34.) 

Full  and  informing  criticism,  but  extravagant  in  praise. 
A  good  portrait  of  Rostand  accompanies  the  article. 

Howells,  William  Dean.    The  new  poetic  drama.    (See 
North  American  Rev.,  May.  1901.  172:  794-800.) 
Comparison  of  Rostand  with  Stephen  Phillips. 

James,  Henry.     Edmond  Rostand.     (See  Critic,  Nov., 

1901,  39:  437-50.) 

A  broad-minded  and  penetrative  analysis. 
Published  also  in  Cornhill  Mag.,  84:  577-98. 

Master  of  great  plays.  (See  Outlook.  Nov.  27,  1909,  93: 
663-5.) 

Brief  sketch  of  Rostand's  work,  with  portrait. 
M.  Edmond  Rostand.    (See  Critic,  Oct.,  1901,  39:  299.) 
A  brief,  personal  sketch  with  a  full  length,  highly  char- 
acteristic portrait. 

and    the    literary    prospects    of    the    drama.     (See 

Edinburgh  Rev.,  July-Q£t-.  1900,  192:  307-21.) 

Analyzes  five  of  his  plays,  and  indicates  their  literary 
spirit. 
MoSett,  Cleveland.  The  author  of  Cyrano;  a  study 
of  Edmond  Rostand's  personality  and  methods  of 
writing.  (See  McClure's  Mag.,  Mar.,  1900,  14:  4.37-45.) 
\  personal  sketch;  a  talk  with  Coquelin  and  Rostand; 
how  Cyrano  was  written. 


CO  ROSTAND 

On  displaying  celebrities.     (See  Nation.  June  25,  1903, 
76:  510-11.) 
Account  of  Rostand's  reception  into  the  French  Academy. 

Representations  of  Christ  on  the  American  stage.    (See 
Current  Literature.  Feb..  1911,  50:  193-6.) 

Extended  note  on  La  Samaritaine,  with  extracts  from  the 
play,  and  comparison  with  the  similar  plays    of  Maeterlinck. 

Rostand,  Edmond.    (La)  Samaritaine. 

A  novel  but  reverent  treatment  of  the  Scriptural  story, 
similar  to  and    yet    unlike    Maeterlinck's    Mary    Magdalene. 

Reviewed  in  Bookman,  Feb..  1911,  23:  002-04;  Current 
Literature,  Feb..  1911.  50:  193-6;  Literary  Digest.  Dec.  24, 
1910,  41:  1203. 

Sedgwick,  EUery.    M.  Edmond  Rostand.    (See  Atlantic 
Mo..  Dec.  1898,  82:  826-33.) 

Slight  biographical  and  critical  sketch.  Readable  yet 
hardly  more  than  a  surface  criticism  of  the  plays. 


SHAW 

Shaw,  George  Bernard.  Plays,  pleasant  and  unpleasant. 
2  V.  D.    X.  v.,  I'JUU.    Brentano,  S2.50. 

Published  also  by  Constable.  Lend.  2v.  10s.  6d.,  and  sepa- 
rately at  2s.  net  each. 

"A  delight  to  the  intellectual,  a  mockery  to  the  brainless,  a 
confusion  to  those  who,  having  brains,  cannot  use  them." 
Baltimore  Sun. 

In  the  preface  of  each  volume  Shaw  expounds  in  a  his- 
torical and  highly  personal  way  his  views  as  to  the  relation 
between  the  players  and  the  play. 

Contents:  — 

V.  1.     The  unpleasant  plays: 

Widowers'  houses. 

The  philanderer. 

Mrs.  Warren's  profession. 
V.  2.     The  pleasant  plays:  — 

You  never  can  tell. 

Arms  and  the  man. 

Candida. 

The  man  of  destiny. 

Reviewed  in  Dial,  July  16.  1898.  25:  43-5,  by  E.  E.  Hale, 
Jr.;  Nation,  July  14,  1898,  67:  36-7;  Athenaeum,  May  28.  1898, 
1:  703-4;  Bookman,  July,  1898,  7:  416-17,  by  Paul  Wilstach; 
Academy,  53:  461-3;  490-2;  613-14;  Bookbuyer,  July,  1898,  26: 
503-5.  by  J.  R.  Sullivan. 

Doctor's  dilemma;  Getting  married;  and  The  shew- 
ing up  of  Blanco  Posnet.  535  p.  D.  N.  Y.,  1911. 
Brentano,  $1.50. 

First  two  published  also  by  Constable,  Lond.,  6s. 

Three  plays  each  preceded  by  a  characteristic  preface.  The 
first  preface  deals  with  the  medical  profession  and  vivisection; 
the  second  with  the  marriage  question;  the  third,  freedom  of 
the  drama  and  stage  censorship. 

Reviewed  in  Forum,  Mar.,  1911,  45:  334-54,  by  Temple 
Scott. 

— — ■  John  Bull's  other  island  and  Major  Barbara.  Sq.  D. 
X.  Y..  1907.     Brentano.  S1.50. 

Published  also  by  Constable,  Lond.,  6s. 

Includes  also  How  he  lied  to  her  husband.  Has  char- 
acteristic prefaces  to  each  play  and,  as  an  introduction,  the 
author's  "First  aid  to  critics." 

Reviewed  in  Academy,  June  29,  1907,  72:  621;  Athenaeum, 
July  27.  1907.  2:  107;  Independent.  Oct.  10,  1907,  63:  879; 
North  American  Rev.,  Oct.,  1907,  186:  284-8;  Outlook, 
July  20,  1907,  86:  610;  Review  of  Rev..  Sept..  1907.  36:  386. 


Three  plays  for  Puritans;  being  a  third  volume  of 

his  collected  plays.    315  p.  D.    N.  Y.,  1906.    Brentano, 
$1.25. 

"This  volume   is   not   edifying,  but   it   is  entertaining;   and 
what  is  more,  if  you   have  never  read  a  play,  or  if,  having 
read  one.  you  regretted  the  effort,  the  present  volume  will  be 
a  revelation."     Baltimore  Sun. 
Contents:  — 
Devil's  disciple. 
Caesar  and  Cleopatra. 
Captain  Brassbound's  conversion. 

61 


62  SHAW 


Reviewed  in  Dial.  May  16.  1901,  30:  343;  Nation,  June  6, 
1901,  72:  400;  Literary  World,  Aug.  1,  1901,  32:  12G;  Saturday 
Rev.,  Jan.  2C.  1901.  91:  107-8.  by  Max  Beerbohm;  Athenaeum, 
Feb.  9,  1901,  1:  186-7;  Spectator.  Apr.  13.  1901.  86:  634-6. 

Shaw,  George  Bernard.     Arms  and  the  man. 

Scene  is  kiid  in  a  Bulgarian  mountain  hotel  in  1885.  "Amus- 
ingly iconoclastic  with  Mr.  Shaw's  notion  of  conventional 
heroism  as  its  target." 

For  review  of  comic  opera  The  Chocolate  Soldier  (by  M. 
Bernauer  and  1.  Jacobson  with  music  by  O.  Strauss)  founded 
on  Arms  and  the  man,  see  Academy,  Sept.  17,  1910,  79:  278; 
Illustrated  London  News,  Sept.  17.  1910.  137:  410;  Saturday 
Rev.,  Sept.  17,  1910.  110:  355. 


Caesar  and  Cleopatra. 


Setting  is  on  the  Syrian  border  of  Egypt  toward  the  end 
of  the  23d  dynasty.  A  study  of  antiquity,  humorous  and 
truth-telling,  and  tending  to  be  both  real  and  fantastic. 

Candida. 


A  comedy  of  more  depth  than  others  of  the  "mere  plays" 
in  the  "plays  pleasant."  The  characterization  is  varied. 
The  clergyman  and  Candida  herself  are  particularly  true 
studies,  the  former  being  the  exponent  of  Christian  socialist 
idealism. 

Reviewed  in  Walkley,  A.  B.,  Drama  and  life.  1908.  p.  214- 
18;  London  Times,  Apr.  30,  1904,  p.  133;  Athensum,  Apr.  30, 
1904.  1:  570;  Academy,  May  7.  1904,  66:  528. 

Captain  Brassbound's  conversion. 


The  author  claims  to  have  stolen  "the  scenery,  atmos- 
phere and  knowledge  of  the  East"  from  Cunningham  Grahame's 
Morocco  the  Most  Holy.  A  farce  so  bound  to  tickle  the 
humor  of  the  reader  that  he  forgets  to  be  dissatisfied  with  its 
cynicism. 

The  devil's  disciple. 

Published  also  separately  by  Constable,  Load.,  1906.  88  p. 
D.     2s. 

In  the  preface,  "On  Diabolian  ethics,"  the  author  refers 
to  this  as  "the  novelty  of  the  advanced  thought  of  rny  day  — 
a  play  certain  to  be  written  at  the  end  of  the  nineteenth 
century."  It  has  some  tragic  situations  mingled  with  mali- 
cious, roistering  humor. 

Doctor's  dilemma. 

A  satire  on  the  medical  profession.  Various  types  of  doc- 
tors, old-school,  new-school,  surgeons  and  quacks  serve  to 
show  the  confusion  of  medical  science. 

Reviewed  in  Walkley.  A.  B.,  Drama  and  life.  1908.  p.  239- 
44;  Forum,  Mar.,  1911,  45:  343-6,  by  Temple  Scott. 

Getting  married. 

"The  whole  subject  of  marriage  as  it  is  understood  and  prac- 
tised at  present  is  exemplified  in  several  ways  and  discussed 
and  turned  into  ridicule."     Temple  Scott. 

Reviewed  in  Forum,  Mar.,  1911,  45:  346-50,  by  Temple 
Scott. 

How  he  lied  to  her  husband. 


"Admittedly  a  jeux  d'esprit,  this  barefaced  and  indubitably 
'original'  little  farce  is  as  preposterously  veracious  and  as  iin- 
mensely  telling  as  anything  that  he  has  done,  trifle  though  it 
is;  and  it  is  full  ...  of  vivid  and  irresistible  divinations  of 
character. ' '    Laurence  Gilman. 

John  Bull's  other  island. 

The  action  arises  from  the  opposition  of  English  and  Irish 
types  and  conditions.  Both  nations  are  impartially  treated 
both  as  to  their  merits  and  their  weaknesses.  Shows  com- 
plete contempt  of  conventional  dramatic  technique. 


SHAW  63 

Reviewed  in  Walkley,  A.  B.,  Drama  and  life.  1908.  p.  219- 
23.    Borsa.  Mario.     English  drama  of  today.    1908.   p.  156-60. 

Shaw,  George  Bernard.     Man  of  destiny. 

An  original  one-act  complication  in  which  Napoleon,  lead- 
ing the  French  army  into  Italy  in  1796,  Quarters  himself  at  a 
little  inn  and  at  a  Milanese  repast  carries  on  a  very  engrossing 
dialogue  with  "The  Lady."  Shaw  makes  Napoleon  a  mouth- 
piece with  which  he  lectures  Englishmen  in  his  own  whimsical 
fashion. 

Reviewed  in  Bookman,  Apr.,  1904,  19:  160,  by  F.  M.  Colby. 

Major  Barbara. 

The  central  figure  is  a  girl  of  good  family  who  has  become 
an  officer  in  the  Salvation  Army  without  losing  touch  with  her 
relatives.  The  most  extreme  theories  of  social  reform  are 
thrown  together  in  one  confused  jumble. 

"As  a  study  of  actual  social  conditions  or  as  drama  quite 
worthless  .  .  .  but  entertaining,  paradoxical  and  irrespon- 
sible." 

Reviewed  in  Walkley,  A.  B.,  Drama  and  life,  1908.  p.,  233- 
8;  Current  Literature.  Feb.,  1906.  40:  191-3;  Aug.,  1907, 
43:  193-8;  Nation,  July  4,  1907.  84:  19;  Saturday  Rev..  Aug. 
28,  1909,  108:  254. 

Mrs.  Warren's  profession. 

Based  on  the  Socialists'  plea  that  the  necessary  result  of 
poverty  is  vice.  Unpleasant  as  are  all  the  convincing  argu- 
ments to  those  who  would  rather  shut  their  eyes  and  ears 
than  be  convinced  and  convicted,  it  is  nevertheless  made 
entertaining  by  the  charm  of  the  characters.  Frank,  "the 
good-for-nothing."  is  especially  delightful.  Structurally  the 
interest  is  held  by  the  brilliancy  of  the  dialogue  rather  than 
by  action,  and  surprise  is  substituted  for  climax. 

Reviewed  in  Saturday   Rev.,   1898,  85:  651,  679,   by   Max 
Beerbohm;  Westminster  Rev.,  Mar.,  1902.  157:  344-7. 
Author's     apology;    from     Mrs.     Warren's    profession; 
with  an  introd.  by  John    Corbin.     67  p.  S.     N.  Y., 
1905.     Brentano,  paper.  60c.  net. 

(The)  Philanderer. 

This  play  points  out  the  fact  that  certain  usages  of  society 
are  being  outgrown — for  instance,  marriage  in  its  present 
form.  But  as  no  practical  substitute  is  suggested,  the  point 
is  weakened.  It  loses  prominence  also  through  the  develop- 
ment of  the  humorous  situations  wherein  lies  the  chief  merit 
of  the  play.  Incidental  is  a  subtle  attack  on  vivisection. 
As   a   whole   it    is   slightly   tragic   and   very  amusing. 

Reviewed  in  Walkley,  A.  B.,  Drama  and  life,  1908.  p.  245- 
50. 

Shewing  up  of  Blanco  Posnet. 


A  moral  conflict  between  Posnet  and  the  Almighty  in  which 
Posnet  is  brought  to  see  God's  purposes  in  the  suffering  and 
mental  agony  he  has  undergone.  "Forbidden  by  the  censor 
in  England,  because  it  was  considered  blasphemous  and 
immoral." 

Reviewed  in  Forum,  Mar.,  1911,  45:  334-54;  Saturday 
Rev.,  Aug.  28,  1909,  108:  254. 

Widowers'  houses. 


Middle  class  respectability  and  younger  son  gentility 
fattening  on  the  poverty  of  the  slum  as  flies  fatten  on  filth." 
is  the  way  Shaw  puts  it.  His  own  feeling  on  the  subject  is 
so  strong  that  his  irony  becomes  too  bitter  to  be  entertaining 
and  the  didactic  trend  encumbers  the  dramatic  power  with  the 
result  that  the  whole  is  rather  ineffectual.  The  characters 
are  nearly  all  "villains"  and  are  treated  in  an  unnatural  and 
old-fashioned  style. 

You  never  can  tell. 


A  successful  comedy  with  a  theme  that  is  both  droll  and 
complex,  but  realistically  developed.  The  characters  make 
but  a  feeble  impression,  except  i>erhaps  that  of  an  eldi-rly 


64  SHAW 


waiter  who,  in  the  farcical  ending,  dances  through  the  hotel 
rooms  with  a  young  lady  who  is  saucy,  pert  and  in  some 
ways  delightful. 

Reviewed  in  Athenaeum,  May  12,  1901,  1:  603. 

Works  Published  Separately 

Shaw,  George  Bernard.  Cashel  Byron's  profession  .  .  . 
also,  The  adiiiirablc  Bashville;  or,  Constancy  unre- 
warded; being  the  novel  of  Cashel  Byron's  profession 
done  into  a  stage  play  in  three  acts  and  blank  verse. 
376  p.  D.    N.  Y.,  1906.     Brentano,  $1.50. 

An  exceedingly  clever  and  ruthlessly  disagreeable  eluci- 
dation of  a  phase  of  life  generally  avoided.  Cashel  Byron  is 
a  prize  fighter,  a  champion  light-weight,  well-born  and  clean- 
minded.  A  young  woman,  rich,  refined  and  bookish,  falls 
helplessly  in  love  with  him  and  marries  him  in  desperate 
defiance  of  social  laws. 

Reviewed  in  Critic,  Feb.,  1902,  40:  179;  Saturday  Rev., 
Nov.  2,  1901,  92:  550,  by  Ma.x  Beerbohm. 

Man  and  superman;  a  comedy  and  a  philosophy. 

244  p.  D.    N.  Y..  1904.    Brentano.  $1.25  net. 

Published  also  by  Constable,  Lond.,  6s. 

A  clever,  satirical  play  which  is  made  the  vehicle  of  a  very 
daring  theory  of  social  life,  matrimony,  and  the  development 
of  the  "superman." 

Reviewed  in  Athenaeum,  Sept.  26,  1903,  2:  422-3,  by  William 
Archer;  Spectator,  Nov.  21,  1903,  91:  840-1;  Dial,  July  16, 

1903,  37:  33-4,  by  A.  Henderson;  Nation.  Dec.  15,  1904,  79: 
486;  Critic,  Oct.,  1903,  43:  310-12,  by  William  Archer;  Aug.. 

1904,  45:  186-7,  by  O.  H.  Dunbar;  Bookman,  Aug.,  1903. 
19:  609-10,  bv  F.  M.  Colby;  Blackwood's  Edinburgh  Mag.. 
Oct.,  1903,  174:  532-4. 

Dramatic  opinions  and  essays;  containing  ...  a 


word  on  the  dramatic  opinions  and  essays  of  G.  Ber- 
nard Shaw,  by  James  Huneker.  2  v.  D.  N.  Y..  1906. 
Brentano,  S2.50  net. 

Published  also  by  Constable.   Lond.    10s.  6d. 

"Selections  from  dramatic  criticisms  which  appeared  in  the 
London  Saturday  Review,  1895-8.  A  combination  of  acute 
and  searching  criticism  of  modern  plays  and  players  with 
unlimited  flippancy  and  egotism.  Deliciously  entertaining, 
if  not  altogether  profitable,  reading  for  those  familiar  with 
the  plays  and  the  actors."     A.  L.  A.  Booklist. 

(The)   Perfect  Wagnerite.     Constable.     Lond..  3s. 


6d. 

Quintessence  of  Ibsenism.   Ed.  2.    170  p.  D.    N.  Y., 


1891.     Brentano,  SI. 

This  book,  short  as  it  is,  affords  the  best  key  we  have  to 
Shaw's  doctrine. 

Criticism 

An  Irish  bull  in  the  china  shop.     (See  Independent, 
Nov.  2.  1905,  59:  1060-1.) 
Editorial  on  Shaw  and  prudish  "Comstockery." 

Archer,  William.  Mr.  Bernard  Shaw's  plays.  (See  his 
Study  and  stage  —  a  year-book  of  criticism.  1899. 
p.  1-22.) 

Balanced  criticism  and   praise  by  a  well-known  theatrical 
critic. 

Barnicoat,  Constance  A.  Mr.  Bernard  Shaw's  counter- 
feit presentment  of  women.  (See  Fortnightly  Rev., 
Mar.,  1906,  85:  516-27.) 


SHAW  65 

A  match  for  Shaw  in  clever  audacity.  She  quotes  freely 
to  illustrate  his  various  methods  of  constructing  woman's 
nature. 

Published  also  in  Living  Age.  Apr.,  1906,  249:  67-75. 

Beers,  Henry  A.     The  English  drama  of  today.     (See 
North  American  Rev.,  May,  1905,  ISO:  740-57.) 

Shaw,  Phillips,  Yeats  and  others  are  considered  with  rather 
secondary  critical  treatment. 

Borsa,  Mario.  G.  B.  S.   (See  his  EngUsh  drama  of  today. 

1908.     p.  120-66.) 
"Shaw's  dramatic  work  is  pure  journalism,  destined  to  enjoy 

a  certain  vogue  and  then  to  be  swallowed  up  in  the  deep  pit 

of  oblivion."    Includes  brief  analyses  of  several  of  Shaw's  best 

known  plays.  ' 

Gary,  Elizabeth  Luther.    Apostles  of  the  new  drama. 

(See  Lamp,  Jan.,  1904,  27:  593-8.) 
These  apostles  are  W.  B.  Yeats  and  G.  B.  Shaw. 
Chesterton,  Gilbert  Keith.    Mr.  Bernard  Shaw.    (.See 

his  Heretics.      1905.     p.  54-61.) 

George  Bernard  Shaw.     249  p.  D.     N.  Y.,  1909. 

Lane,  $1.50. 

"Sketch  of  the  man  and  criticism  of  his  works  written  .  .  . 
by  one  'who  is  kindly  disposed  toward  Mr.  Shaw  personally 
but  who  does  not  take  his  ideas  altogether  seriously.'  "  Book 
Rev.  Digest. 

Paradoxical  and  clever,  it  treats  its  subject  with  a  candor 
and  lack  of  respect  not  unlike  Shaw's  own  treatment  of  other 
writers. 

Reviewed  in  Athenaeum,  Sept.  11,  1909,  2:  291;  Bookman. 
Sept.,  1909.  36:  270-1;  Catholic  World.  Nov.,  1909,  90:  244; 
Current  Literature.  47:  528-31;  Dial.  Oct.  16,  1909,  47:  280; 
Nation,  Oct.  21,  1909,  89:  375;  Outlook,  Nov.  13,  1909,  93: 
574;  Saturday  Rev.,  Sept.  4,  1909,  108:  290. 

Chilton,  C.  B.  Shaw  contra  mundum.  (5ee  Independent, 

Mar.  S.  190G,  60:  550-6.) 
Deacon,  Renee  M.    Bernard  Shaw  as  artist-philosopher; 
an  exposition  of  Shavianism.    106  p.  D.    N.  Y.,  1910. 
Lane,  SI. 

"A  sort  of  student's  primer  of  Shavian  philosophy,  in  which 
Mr.  Shaw's  dramatic  theory,  conception  of  life,  and  artistic 
function  are  laid  down  with  an  uncritical  admiration."     Dial. 
Reviewed   in   Dial,  Oct.   16,   1910,  49:  283;   Independent, 
Oct.  6,  1910,  69:  775. 
France,  Wilmer  Cave.    Philosophy  of  George  Bernard 
Shaw.    (See  Bookman,  June,  1905,  21:  428-31.) 
Brief,  but  well  summarized. 
George   Bernard  Shaw,   an  enquiry.      (See  Academy, 
Feb.  9,  1901,  60:  127-8.) 

Reply   by    P^lorence   Norman   in   Academy,    Mar.  2,  1901, 
00:  192-3. 
Grendon,    Felix.        Some    misconceptions    concerning 
Shaw.     (See  Poet-lore,  Sept.-Oct.,  1909.  20:  376-88.) 
An  extreme  euloRy,  not  a  criticism. 
Hamon,  Augustin.     Un  noveau  Moliere.     (See  Nine- 
teenth Century,  July.  1908,  64:  48-63.) 

A  French  view  of  Shaw.  Asserts  that  he  is  at  his  best  in 
comedy  and  that  in  his  intellectual  make-up  he  is  more  French 
than  English. 
Henderson,  Archibald.  Arnold  Daly  and  Bernard 
Shaw;  a  bit  of  dramatic  history.  (See  Arena,  Nov., 
1904,  32:  489-96.) 

Philosophy  of  Shaw.   (See  Atlantic  Mo.,  Feb.,  1909, 

103:  227-37.) 


66  SHAW 


Discusses  Shaw  as  a  socialist  and  social  evolutionist.     Appre- 
ciative in  tone. 
Is  Bernard  Shaw  a  menace  to  morals?     {See  Current 
literature,  Nov.,  1905,  39:  551-2.) 

Some  discussion  provoked  by  the  comments  of  Mr.  A.  E. 
Bostwick  of  the  New  York  Public  Library  on  circulating 
Shaw's  books. 
Jackson,  Holbrook.  Bernard  Shaw;  a  study  and  an 
appreciation.  2:i3  p.  D.  Phil.,  1907.  Jacobs,  $1.50. 
(Lond.,  Richards,  6s.) 

"I  am  not  playing  the  part  of  commentator,  but  of  interpreter. 
My  one  aim  is  to  induce  people  to  refuse  Shaw  on  any  but  first- 
hand terms  —  to  read  him."     Preface. 
Contents: — 
The  man. 
The  Fabian. 
The  playwright. 
The  philosopher. 
Reviewed  in  Atheneeum,  Sept.  28,  1907,  2:  376;  Dial,  Nov.  16, 
1907.  43:  .321;  Literary  Digest,  Oct.  19,  1907,  35:  578;  Nation, 
Oct.  10.  1007.  So:  334. 
Loraine,  Robert.    Where  does  Shaw  leave  you?     (See 

Cosmopolitan,  Jan.,  1906,  40:  339-44.) 
Lewis,  Austin.     The  Nemesis  of  Bernard  Shaw.     (See 
Overland  Mo.,  Oct.,  1905,  61:  369-71.) 

Mr.  Lewis  is  a  socialistic  writer  of  San  Francisco  and  a 
friendly  commentator  who  considers  Shaw  a  man  who  has 
failed  to  "make  good." 

The  point  of  view  of  Bernard  Shaw.    (See  Overland 

Mo.,  Jan..  1904,  58:  43-6.) 
Mencken,  Henry  Louis.     George  Bernard  Shaw,  his 
plavs;  a  critical  analysis  of  all  Shaw's  literary  and 
dramatic  work.     107  p.  D.    Bost.,  1905.     Luce,  $1. 
Reviewed  in  Nation,  Feb.  1,  1906,  82:  103-4. 
Well  written   and   informing.     Mr.  Mencken  is,  obviously, 
an  admirer  of  Shaw,  but  he  is  no  mere  idolater.     His  book 
comprises  an  essay  on  Shaw  as  a  dramatist  which  is  remark- 
ably comprehensive  in  its  scope,  and  perhaps  open  to  argu- 
ment as  to  its  doctrine.     But  it  is  good  reading.     Then  follow 
chapters  descriptive  and  amiably  critical  on  Shaw's  plays. 
Mosley,   J.    K.      Modern  attacks  on   Christian  ethics. 
(See  Contemporary  Rev.,  Apr.,  1908,  93:  422-35.) 
Same  article  in  Living  Age,  May  9,  1908,  257:  358-62. 
Discusses  Shaw's  views  on  state  supervision  of  children  and 
the  marriage  relation. 
Norman,    Florence.       George    Bernard    Shaw.       (See 
Academy,  Mar.  2,  1901,  60:  192-3.) 

Reply   to  an  article  entitled,    "George   Bernard   Shaw,   an 
Enquiry,"  that  appeared  in  Academy,  Feb.  9,  1901,  60:  127-8. 
Plays    of    Mr.    Bernard    Shaw.     (See   Edinburgh   Rev., 
1905,201:498-523.)  „      . 

An   acceptable   study   of   all   the   published   collections   of 
Shaw's  plays.     Treats  him  seriously  as  a  dramatist  of  genius 
and  an  earnest  reformer. 
Rogers,  A.  K.     Bernard  Shaw's  philosophy.    (See  Hib- 

bert-Journal,  July.  1910,  8:  818-37.) 
Walkley,  Arthur  Bingham.     George  Bernard  Shaw. 
(See  his  Frames  of  mind,  1899.) 
Rcview^ed  in  Athenfrum,  Jan.  13,  1900,  1:  40. 
(The)  yellow  dramatist.     (See  Outlook,  Nov.  25,  1905, 

81:  701.)  ^    , 

Shaw,  George  Bernard.    Dark  lady  of  the  sonnets. 

A  burlesque  "interlude"  on  a  Shakespearean  subject 
treated  with  the  author's  characteristic  lack  of  reverence. 

Reviewed  in  Academy,  Dec.  3.  1910,  79:  543-4;  Current 
Literature,  Feb.,  1911,  50:  196;  Literary  Digest,  Dec.  17,  1910. 
41:  1155. 


SUDERMANN 

Sudermann,  Hermann.  Fires  of  St.  John,  a  drama  in 
four  acts;  tr.  and  adapted  by  Charles  Swickard. 
139  p.  O.       Bost..  1904.     Luce.  SI. 25. 

An  old  German  peasant  custom  of  lighting  bonfires  and 
dancing  around  them  on  St.  John's  eve  is  used  as  an  alle- 
gorical background  for  this  romantic  drama.  The  custom 
symbolizes  "the  outburst  in  the  human  soul,  after  Christian 
centuries,  of  the  wild  yearnings  and  primeval  passions  of 
unregenerate  man."  One  follows  the  plot  with  the  feeling 
that  it  is  an  unsatisfactory  play  with  a  conclusion  that  is 
unforgivable. 

Fires  of  St.  John,  a  drama  in  four  acts;  tr.  from  the 

German  by  Charlotte  Porter  and  H.  C.  Porter.     (5e« 
Poet-lore,  Jan.-Mar.,  1904,  15:  1-71.) 

Published  also  separately  by  R.  Badger.   Bost.,  1911.  $1.50. 

St.  John's  fire;  tr.  from  the  German  by  G.  E.  Polk. 

108  p.  O.    Minneapolis,  1905.    Wilson,  SI. 

"Miss  Polk's  translation  is  at  once  faithful  to  the  spirit  of 
the  original  and  to  the  idiom  of  our  own  tongue.  It  is  neither 
slavish  nor  careless."     M.  G.  Peck. 

Reviewed  in  Outlook.  May  27,  1905,  80:  247;  Review  of 
Reviews,  July.  1905,  32:  127. 

Johannes;  [a  play  in  five  acts]  tr.  from  the  German 

by  W.  H.  Harned  and  Mary  Harned.     (See  Poet-lore, 
Apr.-June,  1899,  11:  161-236.) 

A  tragedy  of  great  dramatic  and  religious  interest.  The 
Jewish  prophet,  in  struggling  for  a  Christ  ideal  too  visionary 
and  austere  for  his  human  followers,  becomes  disenchanted 
with  himself  and  tragically  falls.  In  the  fall  he  awakens  to 
his  weak  hold  on  the  power  of  Love.  The  Gospel  story  is 
enlarged  to  show  the  psychological  purpose  of  the  play.  There 
is  lack  of  unity  in  the  whole  and  the  main  lines  are  common- 
place and  conventional. 

Reviewed  in  Francke,  Kuno,  Sudermann's  John  the  Bap- 
tist. (See  his  Glimpses  of  modern  German  culture.  1898.  p. 
142-53.) 

John  the  Baptist:  a  play,  tr.  by  Beatrice  Marshall. 

201  p.  D.    N.  Y.,  1908.    Lane,  Sl.oO. 

Reviewed  in  Athenaeum,  Jan.  9, 1909, 1:  52;  Nation,  Dec.  24, 
1908.  87:  636. 

(The)   Joy  of  living  ...  a  play~-in  five  acts;  tr. 

from  the  German  by  Edith  Wharton.   185  p.  D.   N.  Y., 
1903.     Scribner,  SI. 25  net. 

Published  also  by  Heinemann,  Lond.     4s.  6d. 

The  well-drawn  characters  typify  the  Berlinese  aristoc- 
racy who  live  in  an  environment  wholly  political.  The 
truthful  art  of  the  author  brings  his  message  and  psychology 
before  our  minds  brutally  "as  it  is." 

He  would  have  us  see  that  there  are  personalities  —  such 
as  the  one  typified  in  the  high-minded  Beata  —  so  big  that 
they  can  beg  reasons  for  transcending  moral  laws.  The 
point  of  the  title  is  the  proposal  of  a  '"Toast  to  life"  by  the 
guilty  Beata  herself  at  the  moment  when  her  own  self-inflicted 
death  is  near.  The  fine  workmanship  of  the  play  and  the 
opportunities  it  offers  for  artistic  interpretation  have  given 
it  great  stage  success. 

67 


68  SUDERMANN 


Reviewed  in  Poet-lore,  Jan.-Mar.,  1903.  14: 114-20,  by  P.  H. 
Grummann;  Apr.-June,  1903,  14:  5-11,  by  H.A.  C;  Nation, 
Feb.  27,  1902,  74:  169-70.  by  Charles  Harris;  Fortnightly 
Rev..  Sept.,  1902.  78:  429-40.  by  W.  S.  Lilly;  Athenaeum.  Feb. 
28.  1903.  1:  283;  July  4.  1903.  2:  38;  July  18,  1903,  2:  103. 

Sudermann,  Hermann.  Magda,  a  play  in  four  acts; 
tr.  from  the  German  by  C.  E.  A.  Winslow.  161  p. 
D.     Bost.,  1895.    Lamson,  50c.  net. 

Published  also  by  S.  French.    N.  Y..  50c. 

Pre-eminently  a  study  of  character  and  environment, 
offering,  in  the  characters  of  Schwartzc  and  his  outcast  daugh- 
ter Magda.  a  contrast  between  provincial  and  cosmopolitan 
ideals,  the  petty  narrowness  of  the  one  and  the  irresponsible 
lawlessness  of  the  other.  The  Pastor,  the  real  hero  of  the  play, 
represents  the  true  sanity,  order  and  law  of  life.  Technically 
perfect  as  an  acting  drama  it  is  also  an  intensely  interesting 
one  to  read. 

Reviewed  in  Poet-lore,  Oct.-Dec,  1896,  8:  557-63;  Atlantic 
Mo.,  Jan..  1898,  81:  71-80,  by  J.  F.  Coar. 

Morituri;     three    one-act  plays:    Teja;    Fritzchen; 

The  eternal   masculine.     Tr.  by  Archibald  Alexander. 
159    p.    D.    N.    Y.,    1910.     Scribner.  $1.25. 
"The  English  of  the  translation  is  far  from  faultless." 
The  famous  Morituri  group  is  closely  related  to  the  best  of 
the  author's  work  as  a  whole. 

Reviewed  in  Dial.  Dec.  IG,  1910,  49:  522. 

Morituri:  Teias;  tr.  by  Mary  Harned.     {See  Poet- 


lore,  July-Sept.,  1897,  9:  330-52.) 

Morituri:  (The)  eternal  masculine. 

"A  satire  .  .  .  has  a  court  setting  and  concerns  the  love  of  a 
queen  for  an  artist.  When  he  declares  his  love  she  turns 
against  him  for  his  presumption  and  asks  another  lover,  the 
marshal,  to  despatch  him.  An  amusing  denouement  disallu- 
sions  all  three."     Book  Review  Digest. 

Morituri:  Fritzchen. 

"Tragic  story  of  a  young  German  whose  father  advises  him 
to  see  life  before  he  settles  down.  This  he  does,  becomes 
involved  in  an  affair  with  another  man's  wife,  is  challenged  by 
the  husband  to  a  duel  and  brings  home  to  his  father  the  terrible 
result  of  his  suggestion  before  he  goes  forth  to  certain  death." 
Book  Review  Digest. 

Roses;  four  one-act  plays:  Streaks  of  light;  the  last 

visit;  Margot;  the  Far-away  princess;  tr.  from  the 
German  bv  Grace  Frank.  186  p.  D.  N.  Y.,  1909. 
Scribner.  $1.25. 

"Presents  four  one-act  plays,  one  of  which  is  a  pleasant 
comedy  of  a  young  student  and  a  princess  incognita.  .  .  .  The 
other  three  plays  are  studies  of  feminine  pathology  of  the  most 
pronounced  type."     Outlook. 

"The  first  of  the  plays  is  a  frankly  repulsive  study,  and  the 
second  is  distressingly  pathetic.  'The  last  visit'  is  more  human 
and  also  more  dramatic.  The  last  play  is  wholly  charming." 
N.  Y.  Times,  Oct.  13.  1909. 

Reviewed  in  Independent.  Oct.  21.  1909,  67:  932;  Nation, 
Oct.  14,  1909,  89:  364;  Outlook,  Nov.  6.  1909.  93:  558. 

Teja. 

A  one-act  drama  in  one  brief  scene.  Gloomy  in  theme,  it 
shows  the  stern  Ostrogothic  character  as  the  king  and  his 
people  face  death  from  starvation  and  an  encircling  enemy. 

(The)    three  heron's  feathers;   tr.  by  H.  T.  Porter. 

(See  Poet-lore.  Apr.-June.  1900.  12:  161-234.) 

An  unsuccessful  venture  away  from  the  use  of  prose  and 
naturalistic  construction  into  the  employment  of  poetic 
artifice    and    the    fairy    tale.     Allegorical    and    fanciful,    the 


SUDERMANN  69 

drama  is  intended  to  symbolize  the  same  restless  cravings 
of  the  same  emotional  idealist  that  Hauptmann  symbolizes, 
but  with  more  beauty,  in  The  Sunken  Bell. 

Reviewed  in  Francke,  Kuno,  German  ideals  of  today. 
1907.    p.  249-57. 

Criticism 

Coar,  J.  Firman.    Three  contemporary  German  drama- 
tists.     {See  Atlantic  Mo.,  Jan.,  1898,  81:  71-80.) 

.\  comparison  of  Sudermann,  Hauptmann  and  Wilden- 
brucli. 
Florer,  Warren  Washburn.  Recent  German  criticism; 
Hermann  Sudermann.  {See  Poet-lore,  Sept.,  1905, 
16:  116-23.) 
Heller,  Otto.  Studies  in  modern  German  literature: 
Sudermann,  Hauptmann,  women  writers  of  the  19th 
century.   301  p.  D.    Bost.,  1905.     Ginn,  S1.25. 

Distinctly  popular  essays  indicating,  in  a  way  adapted  to 
readers  who  have  little  first-hand  information,  the  chief 
aspects  of  the  work  of  Sudermann,  Hauptmann  and  some 
minor  women  writers.  The  critic,  while  not  great,  is  always 
sensible  and  genuinely  interested  and  interesting.  He  shows 
his  high  estimate  of  the  two  great  dramatists  in  an  unduly 
favorable  and  somewhat  too  detailed  analysis  of  their  plays, 
arranged  in  chronological  order. 

Reviewed  in  Athenffium,  Nov.  18,  1905,  2:  685;  Poet-lore, 
Sept.,  1905,  IG:  127-8. 
Jones,  Dora  M.     Plays  of  Hermann  Sudermann.     {See 
Westminster  Rev.,  Nov.,  1900,  154:  553-60.) 

A  general  characterization,  slight  in  substance  and  value. 

Lee,  Elizabeth.   German  drama  of  to-day-     {See  Living 
Age,  2.34,  156-66.) 

Discussion  of  Hauptmann  and  Sudermaim  as  representatives 
of  modern  German  drama. 
Meyer,  Edward  Stockton.     Modern  German  drama. 
{See  Critic,  July,  1905,  47:  61-70.) 

Treats  of  the  features  of  German  naturalism  as  developed 
in  Sudermann  and  Hauptmann. 
Meyer,  Richard  M.    Hermann  Sudermann.    {See  Inter- 
national Mo..  1902,  6:  140-54.) 

Biographical  and  critical.     Fair  and  to  the  point. 

Phelps,  William  Lyon.     Hermann  Sudermann.      {See 
his  Essays  on  modern  novelists.     1910.     Macmillan, 
$1.50.    p.  132-58.) 
Discusses  Sudermann's  fiction  rather  than  his  dramas. 

Steiner,  Edward  A.     Two  German  dramatists.     {See 
Outlook,  Jan.  5,  1901,  67:  74-7.) 

Based  on  personal  visits  to  Sudermann  and  Hauptmann, 
and  condensed  into  a  brief  analysis  of  a  few  stage  plays. 
Strang,   Lewis  C.     Sudermann  and  Maeterlinck.     {See 
his   Players  and   plays  of   the  last   quarter  century. 
1903.     V.  2.     p.  259-71.) 
A  concise  biographical  and  critical  sketch. 
Wells,  Benjamin  Willis.    Hermann  Sudermann.    {See 
Forum,  Nov.,  1898,  26:  374-84.) 

A  biographical  and  critical  sketch  of  Sudermann  by  the 
author  of  "Modern  German  Literature."  Of  the  plays  men- 
tioned in  this  list  Mr.  Wells  considers  two  —  Magda  and 
Johannes  (John  tlie  Baptist). 
Witkowski,  Georg.  Hermann  Sudermann.  {See  his 
German  drama  of  the  nineteenth  century.  1909.  p. 
152-61.) 
Treats  especially  of  Sudermann's  skill  in  stage  technique. 


Part  II 


MODERN  OPERAS 

by 

FANNY  ELSIE  MARQUAND 
B.  A.   (Wellesley),  B.  L.  S.   (N.   Y.  State  Library  School) 


DEBUSSY 

Debussy,    Claude   Achille,    1862-.      Debussy's  songs. 
(in  Mus.  Cour.     v.  42,  no.  23.     June  5,  1901.     p.  7.) 

— —  Claude  Debussy,     (in  Mus.  Cour.     v.  44,  no.  24. 
June  11,  1902.     p.  11-12.) 

Work  of  Debussy,  (in  Harp.  W.  49.     Mar.  4,  '05. 

p.  337.) 
Oilman.  Lawrence.  Poet  and  dreamer,     (in  Harp. 

W.  50.    Mar.  31,  '06.  p.  452.) 

Melody   lacking    in    Debussy's   works,      (in    Mus. 

Amer.    v.  4,  no.  14.    Aug.  18,  1906.    p.  14.) 

Gilman,  Lawrence.      Claude    Debussy,    poet    and 

dreamer,  (in  No.  Amer.  Rev.  v.  183,  Nov.,  1906. 
p.  877-86.) 

Gilman,    Lawrence.      Debussy.      (in  his  Music  of 

tomorrow.      1907.     p.    l(>-46.) 

Gilman,     Lawrence.        Debussy's    The    sea.       (in 

Harp.  W.  51.     Mar.  23,  '07.     p.  438.) 

Debussy  and  the  music  of  tomorrow,     (in  Cur.  Lit. 

V.  43.     Aug.,   1907.     p.   198-9.) 
Review  of  Gilman,  Lawrence.     Music  of  tomorrow.     Por- 
trait of  Debussy  from  painting  by  J.  Blanch. 

Debussy.      (in    Nation,      v.    86.      Mar.    5,    1908'. 


p.  223-4.) 
Review  of  Liebich,  Mrs.  Franz.  Claude  Achille  Debussy. 


—  Liebich,  Mrs.  Franz.     Claude  Achille  Debussy.     92 
p.     Lane.     1908. 
Review  Athenaeum  v.  132.    Aug.  1,  1908.    p.  134-5.     Spec- 
tator V.  100.     Feb.  29,  1908.     p.  339-40. 

Bauer,  E.  F.     Debussy  talks  of  his  music,    (in  Harp. 


W.  52:  32.    Aug.  29,  '08.) 
—  Gilman,  Lawrence.     Debussy,     (in  his  Aspects  of 
modern  opera.     1909.     p.  143-215.) 

Keeton,  A.  E.    Debussy:  his  science  and  his  music. 


(in  19th  Cent.     v.  66.     Sept.,  1909.     p.  492-502.) 
Same  as  article  in  Liv.  Age.    v.  263.  Oct.  30,  1909.    p.  270-8. 

—  Biographical    sketch    with    portrait.      (in    Etude. 
V.  28.     Nov.,  1909.     p.  735-6.) 

Portrait,    (in  Etude  28,  Nov.,  1909.    p.  735-6;    Gaz. 


d.  Beaux  Arts.  1903.  ser.  3,  v.  29.  p.  453;  111.  Lond. 
N.  V.  134.  Mar.  20,  1909.  p.  419;  111.  Lond.  N.  v. 
134.  May  29,  1909.  p.  798;  Internat.  Stud.  v.  21, 
p.  199.  1904:  Put.  Mo.  v.  4.  Apr.  1908.  p.  124; 
Mus.  Cour.     V.  60,  no.  16.     Apr.  20,     1910.     p.  8.) 

Pelleas  and  Melisande.     Debussy,  C.  A.     Pelleas  and 
Melisande;  Drame  lyrique  en  5  actes  and  12  tableau.x 
de   Maurice  Maeterlinck.     409  p.     Par  E.  Fremont. 
C1904. 
The  full  score;   to  be  found  in  the  Library  of  Congress. 

Archer,  William.     Pelleas  and  Melisande.     (in  his 

Study  of  the  stage.     1899.     p.  133-7.) 
Review  of  the  play. 

73 


74  DEBUSSY 

Pelleas    and    Melisande.       Gilman.    Lawrence.     De- 
bussy's  Pcllcas  and    Melisande;  a  guide  to  the  opera, 

with  musical  examples  from  the  score.    84   p.   il.    D. 

N.  Y.  Schirmer,  1907. 
Krehbiel,  E:  H:     Pelleas  and  Melisande.     (in  his 

Chapters  of  opera.     1909.     p.  393-7.) 
Melitz,    Leo.      Pelleas    and    Melisande.      (in    his 

Opera-goers'  complete  guide.     1909.     p.  292-7.) 
Singleton,    Esther.      Pelleas   and    Melisande.      (in 

her  Guide  to  modern  opera.     1909.     p.  243-58.) 
Hale,  E.  E.,  jr.     The  antennae  in  poetry,     (in  Dial. 

V.  18.  Mar.  1895.     p.  174-5.) 
Review  of  the  play. 
Pelleas  and  Melisande.     (in  Mus.  Cour.     v.  44,  no. 

21.     May  21,  1902.     p.  11.) 
Pelleas  and   Melisande  in   Paris,      (in  Mus.  Cour. 

V.  44,  no.  22.     May  28,   1902.     p.  17-18.) 
Pelleas   and    Melisande.      (in  Mus.  Cour.      v.   45, 

no.  3.    July  16,  1902.     p.  10.) 
Pelleas   and    Melisande.      (in  Mus.   Cour,      v.   45, 

no.  4,  p.   18.     July  23,  '98.) 
■ The  individual  art  of  Claude  Debussy,  as  shown  in 

Pelleas  and  Melisande.     (in  Mus.  Amer.    v.  6,  no.  22. 

Oct.   12,   1907.     p.   16.) 
Van  Vechten,  Carl.     The  coming  opera  season,     il. 

(in  Bkman.     v.  26.     Nov.,  1907.     p.  256-65.) 
Oilman's    guide    to    Pelleas    and    Melisande.      (in 

Nation,     v.  85.     Dec.  26,  1907.     p.  595.) 
Review. 


Gilman,   Lawrence.     Debussy's  Pelleas  and  Meli- 
sande.   il.    (in  Harp.  W.    v.  52.    Mar.  7,  1908.   p.  25.) 

Concerning  an  epoch  making  score,     (in  Harp.  W. 

v.  52.  Mar.  21,  1908.     p.  25.) 

A    drama    of    decoration.      (in    Outlook.      v.    88. 

Mar.  28,  1908.     p.  673-4.) 

Musical  significance  of  Pelleas  and  Melisande.     il. 


(in  Cur.  Lit.    v.  44.    Apr.,  1908.    p.  426-9.) 
Partly  a   rev.   of  Gilman's  book  and   quoting  Gilman  in 

Harp,  w.,  Krehbiel  in  Tribune,  DeKoven  in  World,  Finck  in 

Ev.  Post  and  H.  T.  Parker  in  Bost.  Transcript.    2  ill.     Miss 

Garden  as  Melisande;   M.  Pener  as  Pelleas. 
Appreciation  of   Pelleas  and    Melisande.     il.      (in 

Theatre,     v.  8.     Apr.,  1908.     p.  112-14.) 
Production    at     Manhattan    Opera    House.       (in 

Theatre,     v.  9.    Feb.,  1909.     p.  43-4.) 
Production    at    Covent    Garden,    Lond.      il.      (in 

111.  Lond.  N.    v.  134.     May  29,  1909.    p.  778-9.) 
G.,  C.  L.     Critical  notice,     (in  Spectator,     v.  102. 

June  12,  1909.     p.  936-7.) 
Pelleas  and  Melisande  at  Manhattan  Opera  House. 

(in  Mus.  Cour.    v.  60,  no.  14.    Apr.  6,  1910.    p.  32.) 


PUCCINI 

Puccini,  Giacomo,  1858-.     Apthorp.  W:  F.     Puccini. 

(in  his  Opera  past  and  present.     1901.     p.  202-3.) 

Dry,  Wakeling.     Giacomo  Puccini.     144  p.     Lane, 

1906. 
Rev.  in  Ath.  128:  840-1.  Dec.  29.  '06. 
Review  of  Dry,  Wakeling.     Giacomo  Puccini,     (in 


Mas.  Amer.     v.  5,  no.  6.     Dec.  22,  190G.     p.  7.) 
il.     Puccini  in  his  study. 

—  The  musical  message  of  Puccini;  a  review  of  Dry, 
Wakeling.  Giacomo  Puccini,  (in  Cur.  Lit.  v.  42. 
May.  1907.     p.  549-51.) 

Elson,  Arthur.     Puccini,     (in  his  History  of  opera. 

1906.     p.  302-14.) 

Elson,  Arthur.  Puccini.  (in  his  Modern  com- 
posers of  Europe.     1905.     p.   170-4.) 

Gilman,    Lawrence.      Life    of    Puccini.       (in    his 


Eminent    foreign    composers    as    guests    of    America. 
R.  of  R.    V.  34.    Dec.  1906.    p.  698-702.) 

—  Gilman,   Lawrence.     Puccini,     (in  his  Aspects  of 
modern  opera.     1909.     p.  33-63.) 

Streatfeild,  R.  A.    Puccini,    (in  Grove's  Dictionary 


of  music  and  musicians.     1908.     v.  3,  p.  847-8.) 

—  Streatfeild,    R.   A.      Puccini,      (in   his   Masters  of 
Italian  music.     1895.     p.  189-213.) 

Streatfeild,    R.   A.      Puccini,      (in    his  The  opera. 


1897.     p.  279-82.) 
—  The  Covent  Garden  season,     (in  Sat.  Rev.     v.  77. 
May  12,  1894.     p.  494-5.) 

Veit,  Alfred.    Puccini;  rival  of  Mascagni  and  Leon- 


cavallo,    (in  Music,     v.  13.     Jan.  1898.  p.  296-300.) 

—  The  clever  Puccini,     (in  Mus.  Cour.  v.  44,  no.  2. 
Jan.  8.   1902.     p.  22-3.) 

Letter  from  Puccini,    (in  Mus.  Cour.  v.  46,  no.  13. 


Apr.   1,   1903.     p.  24.) 
—  Puccini    scores    modern    music,      (in    Mus.    Amer. 
V.  5.     Dec.  1.  1906.     p.  5.) 

Gorst,  Harold  E.      Puccini's  record,     (in  Sat.  Rev. 


V.  103.     Jan.  5.  '07.     p.  10-11.) 
Review  of  W.  Dry's  Giacomo  Puccini. 
Puccini's  operas,    (in  Nation,    v.  84,  Jan.  24,  1907. 


p.  89.) 

Puccini  interviewed,     (in  Mus.  Amer.    v.  5,  no.  11. 

Jan.  26,  1907.     p.  3.) 

Puccini  had  to  be  tempted  to  study  music,     (in 


Mus.  Amer.     v.  5.  no.  11.    Jan.  26,  1907.     p.  14.) 
—  Puccini  in  America,    (in  Ind.    v.  62.    Jan.  31,  1907. 
p.  255  6.) 

Caruso  entertains  Puccini,     (in  Mus.  Amer.     v.  5. 


no.    16.     Mar.  2,   1907.     p.    17.) 
—  His    impressions    of    America.      (in    Mus.    Amer. 
V.  5.  no.  17.     Mar.  9.  1907.     p.  3.) 
Port,  of  Puccini. 

75 


76  PUCCINI 

Puccini,  Giacomo,  1858-.   Impressions  of  America,   (in 
Mus.  Amer.    v.  5,  no.     22.    Apr.  13.  1907.    p.  17.) 

Praises  Americans  as  critics,  (in  Mus.  Amer.     v.  5, 

no.  25.     May  4.  1907.     p.  15. 
111.     Puccini's  triumphal   return  to   Italy.       From  Ars  et 
Labor.     Cartoon. 
Sketch,     (in  Theatre,     v.  9.     June,  1909.     p.  198.) 
Portrait.       (in    Baker,    Dictionary    of    musicians. 


1900.     p.  465;    Cur.  Lit.    v.  39.    Sept.,  1905.    p.  316; 

Elson,  Modern  composers  of  Europe,     p.  170;     Etude. 
V.  27.     Oct.,  1909.     p.  663-4;     Ind.     v.  62.    Jan.  31, 

1907.    p.  255;     Munsey.    v.  24.     Mar.,  1901.     p.  881; 

Munsey.     v.  28,  pt.  2.      Mar.,  1903.     p.  932;     Mus. 

Amer.      v.  5.  no.  6.      Dec.  22,   1906.      p.  7;      Mus. 

Amer.     v.  5.  no.  17.     Mar.  9,   1907.     p.  3;     R.  of  R. 

V.  34.     Dec.  1906.     p.  699;     Theatre,    v.  9.     June. 

1909.    p.  198.) 
La  Boheme.     La  Boheme;    libretto  with   Italian  and 

English  text;  as  sung  by  Ellis  opera  CO.    67  p.    Boosey 

&  CO.,   1898. 
La  Boheme.    (in  Famous  composers  and  their  works, 

ed.  byL.  C.  Elson;    new  ser.,  v.  2.     1900.     p.  160.) 
Elson.    Arthur.      La    Boheme.       (in    his    Critical 

history  of  opera.     1901.     p.  307-9.) 

Hughes.     Rupert.       La     Boheme.       (in     Hughes, 


Rupert.  Musical  guide.     1903.     p.  345-6.) 
—  Klein,    Hermann.     La   Boheme.      (in   Klein,    Her- 
mann, Thirty  years  of  musical  life  in  London.     1903. 
p.  436-7.) 

Krehbiel.  H:  E:    La  Boheme  (in  his  Chapters  on 


opera.     1909.     p.  285-7.) 

—  Law,    F:    S.      The    Bohemians,      (in    Law.    F:    S. 
Operatic  tales.    cl907.     p.  324-38.) 

—  Mehtz.  Leo.     La   Boheme.       (in  his  Opera-goers' 
complete  guide.     1909.     p.  173-5.) 

—  Singleton.  Esther.     La  Boheme.     (in  her  Guide  to 
modern  opera.     1909.     p.  178-94.) 

Puccini's  La  Boheme.     (in  Music,     v.   15.     Dec, 


1898.     p.  215-17.) 
—  La  Boheme  in  New  York,     (in  Mus.  Cour.     v.  42, 
no.  1.     Jan.  2.  1901.     p.  24.) 

La  Boheme  in  Berlin,    (in  Mus.  Cour.    v.  45,  no.  4. 


July  23.  1902.     p.  5.) 
—  Puccini's  opera  a  bone  of  contention,      (in  Mus. 
Amer.    v.  4.  no.  22.    Oct.  13,  1906.    p.  7.) 

Hammerstein    may    give   La    Boheme.      (in    Mus. 


Amer.     v.  5,  no.  9.     Jan.  12.  1907.     p.  11) 

Settlement  of  litigation  between  Conried  and  Hammerstein. 
—  La  Boheme  at  the  Manhattan  Opera  House,      (in 
Mus.  Amer.     v.  5,  no.  17.     Mar.  9.  1907.     p.  4.) 
La  Boheme  at  Covent  Garden,     un  Ath.     v.  128. 


Oct.  13,  '06.     p.  451;     v.  129.    May  25.  '07.    p.  643.) 

May  25.  '07;    128:  451.  Oct.  13.  '06) 
Edgar.     Elson.  Arthur.    Edgar,      (in  his  Critical  history 

of   opera.      1901.     p.  304-5.) 
Girl  of  the  golden  west.    Puccini,  Giacomo.     America 

as  a  centre  of  world  opera.     Cur.  Lit.     v.  50.     Feb., 

'11.    p.  196-200. 
Extended  note  on  "Girl  of  the  golden  west"  and  Humper- 

dinck's  Konigskinder. 


PUCCINI  77 

Madam  Butterfly,     Puccini,  Giacomo.      Madam    But- 
terfly.     3  V.      Milano  (etc.)  Ricordi.     cl907. 
Full  score,  to  be  found  in  the  Library  of  Congress. 

Krehbiel,    H:    E:      Madama    Butterfly.      (in    his 

Chapters  on  opera.     1909.     p.  340-2.) 

Law,  F:  S.     Madam   Butterfly,     (in  his  Operatic 


tales.     cl907.     p.  360-70.) 
Melitz,    Leo.      Madam    Butterfly,      (in  his  Opera- 
goers'  complete  guide.     1909.     p.  238-40.) 

Singleton.    Esther.      Madam    Butterfly.      (in    her 


Guide  to  modern  opera.     1909.     p.  274-92.) 
—  Madam  Butterfly,      (in  Mus.  Cour.     v.  41,  no.  13. 
Sept.  26,  1900.     p.  19.) 

An  Italian  opera  with  a  Japanese  American  theme. 


(in  Cur.  Lit.     v.  39.     1905.     p.  316.) 
Port,  of  Puccini  and  ref.  to  Lend.  Times,  Ath.  and  III.  Lond. 
News. 

Puccini's  best  work,      (in  Mus.  Amer.     v.  4,  no.  8. 

July  7,  1906.     p.   10.) 

Brilliant  audience  delighted  by  Madam  Butterfly 

premiere,  il.  (in  Mus.  Amer.  v.  4,  no.  23.  Oct.  20, 
1906.     p.  5.) 

Madame   Butterfly  at   Covent  Garden,      (in  Ath. 

V.  126.  July  15. '06.  p.  90-91;  v.  29.  May  25, '07. 
p.  642;  V.  128.  Oct.  13.  '06.  p.  451;  v.  130.  Aug. 
24.  '07.     p.  129;     v.  130.     Oct.  12,  '07.     p.  453.) 

Madam  Butterfly  at  Lyric  Theatre,  (in  Ath.  v.  130. 

Aug.  24.  '07.     p.  219.) 

Madam    Butterfly    in    English.      (in    Mus.    Amer. 

V.  4.  no.  25.     Nov.  3.  1906.     p.  14.) 

K.,    P.    M.      Madam    Butterfly    captivates    New 

York  audiences,    (in  Mus.  Amer.    v.  5,  no.  1.    Nov.  17. 
1906.     p.  5.) 
Three  ill.  of  scenes. 
Oilman,  Lawrence.     A  new  opera  and  a  new  con- 
ductor,    (in  Harp.  W.     v.  50.    Nov.  24,  1906.    p.  1686.) 
Madam  Butterfly.      (in  Mus.  Amer.      v.  5.  no.  3. 


Dec.  8,  1906.     p.  4.) 

Paris  likes  "Butterfly."     (in  Mus.  Amer.     v.  5,  no. 

8.     Jan.  5,  1907.     p.  7.    one-fifth  col.) 

Indianapolis   hears    Madam    Butterfly,      (in    Mus. 


Amer.     v.  5,  no.  10.     Jan.  19.  1907.     p.  5.) 
—  Chicago   applauds    Madam    Butterfly.      (in    Mus. 
Amer.     v.  5,  no.  11.     Jan.  26.  1907.      p.  7.) 

Madama  Butterfly  in  Italian  at  the  Metropolitan 


Opera  House,  N.  Y.  city,     (in  Mus.  Amer.     v.  5,  no. 
14.     Feb.  16.  1907.     p.  4.) 

Milwaukee    hears    Madam    Butterfly.      (in    Mus. 

Amer.     v.  5.  no.  14.     Feb.  16,  1907.     p.  7.) 

Minneapolis   hears    Madam    Butterfly,      (in    Mus. 


Amer.    v.  5,  no.  15.     Feb.  23,  1907.     p.  16.) 

Madam    Butterfly    in    Buffalo.      (in    Mus.    Amer. 

V.  5.  no.  23.     Apr.  20,  1907.     p.  8.) 

Madam     Butterfly    in    Brooklyn.      il.       (in    Mus. 


Amer.    v.  5,  no.  24.     Apr.  27,  1907.     p.  5.) 

Madame  Butterfly  again  in  English,     il.      (in  Mus. 

Amer.    v.  6.  no.  23.     Oct.  19,  1907.    p.  21.) 

Oilman,  Lawrence.     Madam   Butterfly  again,     il. 


(in  Harp.  W.     v.  51.      Oct.  26.  1907.      p.  1572.) 


78  PUCCINI 

Msnon  Lescaut.      Puccini,  Giacomo.     Manon  Lescaut. 

3  V.     Milan,  G.  Ricordi.     cl893. 

The  full  score:  to  be  found  in  the  Library  of  Congress. 
Elson,  Arthur.     Manon  Lescaut.     (in  his  Critical 

history  of  opera.     190L     p.  305-7.) 
Krehbiel,  H:  E:    Manon  Lescaut.    (in  his  Chapters 

on  opera.     1909.     p.  337-40.) 
Singleton,  Esther.    Manon  Lescaut.     (in  her  Guide 

to  modern  opera.     1909.     p.   148-61.) 
Manon  Lescaut  at  Covent  Garden,    (in  Ath.    v.  103. 

May  19.  '94.     p.  654-5;     Acad.     v.  45.     May  19,  '94. 

p.  423.) 

The  opera,    (in  Sat.  Rev.     v.  77.     May  19,  1894. 


p.  525.) 

Puccini's   La    Boheme   and    Manon   Lescaut.      (in 

Music.     V.  15.     Dec,  1898.     p.  215-17.) 

Conried  produces  Manon  Lescaut.     (in  Mas.  Cour. 


V.  5,  no.  11.    Jan.  26,  '07.    p.  13.) 

Melitz,  Leo.    Manon  Lescaut.     (in  his  Opera-goers' 


complete  guide.     1909.     p.  246-8.) 
La  Tosca.     Elson,  Arthur.     La  Tosca.     (in  his  Critical 

history  of  opera.     1901.     p.  309-13.) 
Klein,  Hermann.    La  Tosca.    (in  his  Thirty  years  of 

musical  life  in  London.     1903.     p.  455-6.) 

Krehbiel,  H:  E:     La  Tosca.     (in  his  Chapters  of 


opera.     1909.     p.  300-04.) 

Law.  F :  S.    La  Tosca.    (in  his  Operatic  tales.    cl907. 

p.  348-59.) 

Melitz,  Leo.    La  Tosca.     (in  his  Opera-goers'  com- 
plete guide.     1909.    p.  193-5.) 

Singleton,  Esther.     La  Tosca.      (in  her  Guide  to 


modern  opera.     1909.     p.  215-32.) 
—  Premiere,     (in  Mus.  Cour.     v.  40,  no.  5.     Jan.  31. 
1900.       p.  29.) 

La  Tosca  in  Rome,     (in  Mus.  Cour.     v.  40,  no.  7. 


Feb.  14,  1900.    p.  35-6.) 

Puccini's  La  Tosca.     (in  Sat.  Rev.     v.  90.     July  14, 

1900.     p.  46-7.) 

Runciman,  J.  F.     Puccini  and  Kubelik.     (in  Sat. 


Rev.    V.  90.    July  14,  1900.    p.  81-2.) 

Music  in  London,     (in  Mus.  Cour.     v.  41,  no.  6. 

Aug.  8.   1900.     p.   17.) 

La  Tosca  at  Covent  Garden,  Lond.     (in  Ath.    July 


21,  1900,  p.  96.) 

•  La  Tosca  in  Naples,     (in  Mus.  Cour.    v.  42,  no.  4 


Jan.  23,  1901.     p.  21.) 
Tosca  at   Metropolitan   Opera   House,      (in   Mus. 

Cour.     V.  42,  no.  6.     Feb.  6,  1901.     p.  24-5.) 
Tosca  in  Boston,     (in  Mus.  Cour.     v.  42,  no.  15. 

Apr.  10,  1901.    p.  18.) 

La  Tosca  in  Dresden,    (in  Mus.  Cour.    v.  45,  no.  23. 


Dec.  3,  1902.    p.  5.) 
—  The  Grau  opera,     (in  Mus.  Cour.     v.  45,  no    25. 
Dec.  17,  1902.     p.  33.) 

Tosca  in  Brooklyn,     (in  Mus.  Cour.    v.  47,  no.  15. 


Oct.  7.  1903.     p.  8.) 

La  Tosca  in  Paris,     (in  Mus.  Cour.     v.  47,  no.  18. 

Oct.  28,   1903.     p.  8.  9-10.) 


PUCCIXI  79 

La  Tosca.      Immense   audience   greets    Emma   Eames. 

(in  Mus.  Amer.     v.  5.  no.  9.     Jan.  12,  1907.     p.  4.) 
Savage  opera  reaps  success,     (in  Mus.  Cour.    v.  48, 

no.  2.     Jan.  13.  1904.     p.  17.) 

La  Tosca  in  Paris,     (in  Mus.  Cour.     v.  48,  no.  3. 


Jan.  20,  1904.    p.  6.) 
La  Tosca  at  Covent   Garden.      (in  Ath.      v.   128. 

Oct.  20.  1906.    p.  487;    v.  129.    June  22,  1907.    p.  770; 

V.  130.     Oct.  26,  1907.     p.  526.) 
Portrait  of  Emma  Eames  as  Tosca.     (in  Harp.  W. 

V.  51.     Mar.  9,   1907.     p.  352.) 
Oilman  L.     Production  of  La  Tosca.     (in  Harp.  W. 

V.  52.     Nov.  21,  1908.     p.  28.) 
Le  villi.     Elson,  Arthur.    Le  villi,     (in  his  Critical  his- 
tory of  opera.      1901.     p.  304.) 

Melitz,  Leo.    Le  villi,    (in  his  Opera-goers'  complete 

guide.     1909.     p.  214-16.) 
Singleton,    Esther.      Le    villi.      (in    her    Guide    to 

modern  opera.     1909.     p.  93-7.) 
Production    at    Metropolitan    Opera    House.      (in 

Theatre,     v.  9.    Feb.,  1909.     p.  42.) 


STRAUSS 

Strauss,  Richard,  1864-.     Bloomfield.  Daniel. 

Bibliography  of  Straussiana.     (in  Musician,     v.  15, 
Feb.,  1910.)     p.  S7. 

De  Koven,  Reginald.    The  modern  revolt  in  music. 

(in  N.  Am.  Rev.     v.  186.     Nov.,  1907.     p.  360-9.) 
Sketch,     (in  Baker,  Dictionary  of  musicians.    1900. 


p.  567.) 

Elson,  Arthur.     Richard  Strauss,     (in  his  Modern 

composers  of  Europe.     1905.    p.  1-26.) 

Gilman,    Lawrence.       Richard    Strauss.       (in    his 


Aspects  of  modern  opera.     1909.    p.  67-105.) 

Gilman,     Lawrence.       Achievement     of     Richard 

Strauss.      (in    his    Phases   of    modern    music.      1904. 
p.  3-25.) 

Henderson,     W.    J.       Richard    Strauss.       (in    his 


Modern   musical  drift.      1904.     p.  98-168.) 
—  Huneker,    J.    G.      Richard    Strauss,      (in    Hughes, 
Rupert,  Musical  guide.     1903.     p.  753-4.) 

Huneker,  J.  G.    Richard  Strauss,    (in  his  Overtones 


1904.     p.   1-63.) 

—  Klein,  Hermann.  Richard  Strauss,     (in  his  Thirty 

years  of  musical  life  in  London.     1903.     p.  408.) 

Kobbe,  Gustav.  Richard  Strauss  and  his  music. 


(in  his  How  to  appreciate  music.     1906.     p.  207-23.) 
—  Maitland,    J.    A.    Fuller-.      Strauss,      (in    Grove's 
Dictionary  of  music  and  musicians.     1908.     v.  4,  p. 
717-20.) 

Maitland.  J.  A.  Fuller-.     Richard  Strauss,    (in  his 


Masters  of  German  music.      1894.     p.  268-76.) 

Newman,  Ernest.     Richard  Strauss.     144  p.     Lane, 

1908. 

Newman,  Ernest.     Richard  Strauss  and  the  music  of 


the  future,     (in  his    Musical  studies.     1905.     p.  249- 
304.) 

Paine,  J.  K.     Richard  Strauss,     (in  Famous  com- 
posers and  their  works.     1891.     v.  2,  p.  601.) 

Streatfeild,  R.  A.    Richard  Strauss,    (in  his  Modern 


music  and  musicians.     1906.     p.  326—45.) 

Strauss,     (in  Sat.  rev.     v.  84,  p.  661.     1898.) 

Symons  Arthur.     The  music  of   Richard  Strauss. 

(in  Monthly  Rev.  v.  9  no.  3:  p.  80.  Rep.  in  Liv.  Age. 

236:  p.  113.) 

Symons,  Arthur.    Strauss,     (in  his  Studies  in  seven 


arts.     1906.     p.  301-28.) 

—  Thus  spake  Richard  Strauss,    (in  Mus.  Cour.    v.  40, 
no.  13.     Mar.  28,  1900.     p.  25-6.) 

—  Richard  Strauss,     (in  Mus.  Cour.     v.  40,  no.   17. 
Apr.  25.  1900.     p.  19-20.) 

Bird.   Arthur.     Richard  Strauss,      (in   Mus.  Cour. 


V.  41,  no.  25.     Dec.  19,   1900.     p.  32.) 
—  Strauss,     (in  Mus.  Stand.     Dec.  29,  1900.) 

80 


STRAUSS  81 

Strauss,  Richard,  1864-.     Richard  Strauss,      (in  Mus- 
Cour.     V.  42.  no.  3.     Jan.  16,  1901.     p.  25.) 

Richard  Strauss,     (in  Mus.  Cour.    v.  42,  no.  24. 

June  12.  1901.     p.  19-20.) 

Strauss,     (in  Mus.  Cour.     v.  44,  no.  8.    Feb.  19, 


1902.     p.  20.) 
—  Strauss  in  London.      (in  Mus.  Cour.    v.  44,  no.  9. 
Feb.  26,  1902    p.  33.) 

Strauss  contra  Wagner,      (in  Mus.   Cour.     v.   44, 


no.  11.     Mar.  12.  1902.     p.  22-4.) 
Brecher,    Gustav.      Richard    Strauss.      (in    Mus. 

Cour.    V.  44,  no.  13.     Mar.  26,  1902.     p.  23-4.) 
Review  of  Brecher's  book. 
Strauss,     (in  Mus.  Cour.    v.  44,  no.   15.     Apr.  9, 

1902.    p.  20.) 
Strauss,     (in  Mus.  Rec.  &Rev.    Apr.,  1902.     p.  31- 

34.) 
Marnold,    M.      Richard    Strauss,      (tr.    in    Music. 

Apr.,   1902.     V.  21,  p.  371-82;    Sept..  1902,  v.  22,  p. 

28-39;    Oct.,   1902,  v.  22,  p.   101-10.) 
Hanslick  contra  Strauss,     (in  Mus.   Cour.     v.  44, 

no.  20.     May  14,  1902.     p.  22-3.) 

Strauss  in  London,     (in  Mus.  Cour.    v.  44,  no.  22. 


May  28,    1902.     p.   25.) 
Kobbe,  Gustav.     Richard  Strauss  and  his  music. 

(in  No.  Amer.  Rev.    v.  174.     June,  1902.     p.  785-95.) 
Strauss,     (in  Mus.  Stand.    June  21,  1902.     p.  390- 

1,  393^.) 
Strauss  in  London,     (in  Mus.  Cour.    v.  44,  no.  26. 

June  25.  1902.     p.  14.) 
Runciman,  J.  F.     Concerning  Richard  Strauss,    (in 

Mus.  cour.  V.  44.  no.  26.     June  25,  1902.     p.  17.) 
Critical  sketches,     (in  Mus.  Cour.     v.  45,   no.    1. 

July  2,  1902.     p.  1,  5.  16,  17-19.) 

Strauss,    (in  Mus.  Cour.   v.  45,  no.  2.    July  9,  1902. 


p.  19-20.) 

Runciman,  J.    F.     Strauss,    Huneker   and    others. 


(in  Sat.  Rev.     v.  94.    July  19,  1902.    p.  75-76.) 
Does  not  discuss  the  operas. 

Strauss  is  interviewed,    (in  Mus.  cour.    v.  45,  no.  4. 

July  23,  1902.     p.  17.) 

Richard    Strauss'    compositions.      (in    Mus.  Cour. 

V.  45,  no.  5.    July  30.  1902.    p.  5-6.) 

Modern  song  writer,     (in  Outlook,    v.  71.    Aug.  2, 

1902.     p.  876-7.) 

Strauss  in  London,     (in  Mus.  Cour.    v.  45,  no.  6. 


Aug.  6.  1902.    p.  5.) 
Henderson,  VV.  J.     The  future  of  orchestral  music. 

Strauss,     (in    Atlan.    Mo.      v.    91.     Jan.,     1903.     p. 

70-7.) 
Newman,  Ernest.     Richard  Strauss  and  the  music 

of  the  future,     (in  Fortn.   Rev.     v.  79.     Jan.,   1903. 

p.  30-15.) 
Strauss,      (in  Mus.  Times   (Lond.).     v.  44.     Jan., 

1903.    p.  9-15.) 
—  Strauss,     (in  New  York  Tribune.     Jan.   4.    1903. 

p.  3.) 

Critical    sketch,      (in    Mus.    Cour.     v.    46,    no.    1. 


Jan.  7,  1903.     p.  22,  29.) 


82  STRAUSS 

Strauss,  Richard,  1864-.     Symons,  Arthur.     Music  of 

Richard    Strauss,     (in    Liv.    Age.     v.    236.     Jan.    10, 

1903.     p.  113-19.) 
From  the  Monthly  Rev. 
G.,  C.  L.     Richard  Strauss,     (in  Spectator,    v.  90. 

Jan.  24,  1903.     p.  129-30.) 
Strauss,     (in  Mus.  Cour.    v.  46.  no.  4.     Jan.  28. 

1903.     p.  5.) 
Review  of  Newman's  article  in  Fortnightly  Review. 
Newman,  Ernest.     Richard  Strauss  and  the  music 

of  the  future,     (in  Cur.  Lit.     v.  34.     Feb..  1903.     p. 

Comment  with  quotations  on  Henderson's  article  in  Atlan. 
mo.,  Jan..  1903. 

Strauss  the  successor  of  Wagner,    (in  Mus.  Cour. 

V.  46,  no.  6.     Feb.  11,  1903.     p.  20.) 

Strauss,     (in  Mus.  Cour.    v.  46,  no.  16.     Apr.  22, 

1903.     p.  8.) 

Modern  music  dilemma,     (in  Mus.   Cour.     v.  46, 

no.  17.    Apr.  29,  1903.    p.  20-1.) 

Keeton,  A.  E.     Richard  Strauss  as  man  and  mu 


sician.      (in   Contemp.  Rev.     v.  83.     June,   1903.     p. 
845-54.) 

Strauss,     (in  New  York  Tribune.     June  14.  1903. 


p.  8.) 
Strauss,     (in  Mus.  Cour.    v.  47.  no.  3.     July  15, 

1903.     p.  18.) 

Strauss,     (in  Mus.  Stand.     Sept.  2.  1903.) 

Richard  Strauss  festival  in  N.  Y.    (in  Mus.  Cour. 

V.  47.  no.  17.     Oct.  21.  1903.    p.  46.) 
Riciiard  Strauss,     (in  Mus.  Cour.    v.  47.  no.   18. 

Oct.  28.  1903.     p.  25.) 
Richard   Strauss,      (in   Mus.   Cour.     v.   48.   no.   6. 

Feb.  10.  1904.     p.  23.) 

Strauss,     (in  New  York  Tribune.     Feb.  28.  1904. 


p.  9.) 

Harris,    G.   W.      Richard   Strauss  and   his   music. 

(in  Ind.     v.  56.     Mar.  3,  1904.     p.  490-94.) 

Strauss,     (in  New  York  Tribune.     Mar.  4,  1904. 


p.   9.) 

Richard  Strauss;  an  estimate  (in  Harp.  W.     v.  48. 

Mar.  5.  1904.     p.  373.) 

Strauss,     (in  New  York  Tribune.     Mar.  10.  1904. 


p.  9.) 

Richard  Strauss,    (in  Bk.  News.    v.  22.   Apr..  1904. 

p.  863.) 

Oilman,  Lawrence.  Richard  Strauss;  an  appre- 
ciation, (in  Critic,  v.  44.  Apr.,  1904.  p.  352-4.) 
Sketch,    (in  Cur.  Lit.    v.  36.    Apr.,  1904.    p.  402-4, 


437-9.) 

Port,  of  Strauss,  p.  403,  from  Town  and  Country,  p.  437-9 
summary  and  quotations  from  Keeton  in  Cont.  Rev..  June,  1903 
and  Huneker  in  Scr.  Mag.,  Mar.,  1904  and  Harris  in  Ind., 
Mar.  3,  1904.  ,  ,^„^ 

Strauss,      (in  Etude,     v.  22,   no.   4.     Apr.,   1904. 

p.  147.) 

The  man  Richard  Strauss,     (in  the  Acad.     v.  68. 


Feb.  11,  1905.     p.  131.) 

Strauss,     (in  Musician,     v.  10.  no.  5.     May,  1905. 

p.  190.) 


STRAUSS  83 

Strauss,  Richard,  1864-.     Has  Strauss  been  outdone. 

(in  Mus.  Amer.     v.  3,  no.  6.     Dec.  23,  1905.     p.  9.) 
Strauss  excoriated  by   Hermann   Klein,      (in   Mus. 

Amer.     v.  3,  no.  17.     Mar.  10.  1906.     p.  12.) 

Dr.  Muck  discusses  Richard  Strauss  and  Salome. 


(in  Mus.  Amer.     v.  5,  no.  13.     Feb.  9,  1907.    p.  16.) 

New  love  poem,    (in  Harp.  VV.  48:  p.  Apr.  2,  "04.) 

529. 

Ziegler,  E.     Revolutionist,     (in    Bkman   23:   Aug., 

■06.)  p.  634-7. 

Richard   Strauss'   extension   of   the   boundaries   of 

musical  expression,     (in  Cur.  Lit.     v.  44.     May,  1908. 
p.   542-3.) 

A  summary  with  quotations  from  R.   DeKoven's  Modem 
revolt  in  music,  N.  Am.  Rev.  186:  360-9. 

Strauss,    (in  Bost.  Transcript.    Oct.  5,  1908.    p.  13.) 

Strauss,    (in  Bost.  Transcript.    Oct.  7,  1908.    p.  23.) 

Richard  Strauss,    (in  Nation,    v.  87.    Oct.  29,  1908. 

p.  420.) 
Review  of  Newman,  E.,  Richard  Strauss  and  the  music  of 
the  future. 
Gilman,    La\vrence.      Study    of    Richard    Strauss. 


(in   No.  Amer.  Rev.     v.  188.    Dec.  1908.     p.    934-7.) 
Mendelssohn    and    Strauss,      (in    Nation,      v.    88. 


Feb.  4,  1909.     p.  122-3.) 

Strauss,     (in  Athena?um.     May  22,  1909.     p.  020.) 

Gideon.  H:  L.     Music  dramas  of  Richard  Strauss. 

(in  Forum,     v.  43.     Apr..   1910.     p.  381-7.) 

The  composer  of  Salome  and   Elektra.      (in   Lit. 


Digest.     V.  40.     Apr.  9.  1910.     p.  731-2.) 

From  London  Daily  Mail. 
—  Portraits.  Baker,  Dictionary  of  musicians. 
1900.  p.  567;  Bk.  News.  v.  22.  Apr..  1904.  p.  863; 
Cent.  V.  75.  Feb..  1908.  p.  497;  Critic,  v.  44.  Apr., 
1904.  p.  304;  Cur.  Lit.  v.  36.  1904.  p.  402; 
Elson,  Arthur,  Modern  composers  of  Europe.  1905. 
p.  1-26;  Famous  composers  and  their  works.  1891. 
V.  2.  p.  604;  Harp.  W.  v.  48.  Mar.  5,  1904.  p. 
373;  111.  Lond.  N.  v.  134.  Jan.  23,  1909.  p.  148; 
Mus.  Cour.  V.  45.  no.  1.  July  2.  1902.  p.  1;  Mus. 
Cour.  V.  46,  no.  1.  Jan.  17,  1903.  p.  1;  Mus.  Cour. 
V.  47,  no.  17.  Oct.  21,  1903.  p.  1;  Munsey.  1903. 
V.  30,  p.  207;  Theatre,  v.  9.  Apr.,  1909.  p.  12S;  W. 
W.  V.  13.  Mar.,  1907.  p.  8591;  Cur.  Lit.  46:  432, 
Apr.,  '09;  111.  Lond.  N.  134:  148,  Ja.  23,  '09;  135: 
262,  Aug.  21,  '09;  Craftsman  17:  283,  Dec,  '09  (in 
group).) 

Portraits  at  various  ages,    (in  111.  Lond.  N.    v.  134, 


Feb.  6,  1909.     p.  190.) 
Electra.     Hofmansthal,    Hugo  von.    Electra,  a  tragedy 
in  one  act;  tr.  by  Arthur  Symons.    Brentanos,  cl908. 
The  play  from  which  the  opera  was  taken. 

Hofmannsthal's  sensational  tragedy,     il.     (in  Cur. 

Lit.    Apr.,  1908.    v.  44,  p.  429-32.) 

Hutcheson,    Ernest.     Elektra.     Schirmer,    1910. 

Singleton,    Esther.      Electra.      (in    her    Guide    to 

modern  opera.     1909.     p.  312-30.) 

Elektra,  another  sensational  work,    (in  Mus.  Amer. 


v.  6.  no.  24.     Oct.  26.  '07.    p.  2.) 


84  STRAUSS 

Electra.       Production  at   Garden  Theatre,   N.  Y.  city, 
(in  Theatre,     v.  8.     Mar..  1908.     p.  60.) 

Portrait  of  Frau  Krull  as  Elektra.    (in  111.  Lond.  N. 

V.  134.     Jan.  30.  1909.     p.  150.) 

Premiere    at    Royal    Opera    House.    Dresden,      il. 


(in  Mus.  Cour.    v.  58.     Feb.   17.  1909.     p.  5-6.) 
—  Scenes   from   Electra.      il.      (in   Harp.   W.    v.    53. 
Mar.  27.  1909.     p.  32.) 

Musical  value  of  Strauss'  Elektra.    il.   (in  Cur.  Lit. 


V.  46,  Apr..  1909.     p.  431-5.) 

Quotes  from  N.  Y.  Times;  Bost.  Transcript;  Musical  Leader 
and  Concert  Goer,  article  by  C.V.  Kerr;  Lond.  Daily  Telegraph; 
Mus.  Courier;  Manchester  Guardian  by  E.  Newman. 

Portrait  of  Strauss. 

Cartoon  in  "Jugend"  of  Dresden  Opera  House  after  the 
storm. 

Schumann-Heink  as  Electra  from  N.  Y.  Times  and  one 
scene,  also  from  N.  Y.  Times. 

Elektra.     (in  Lond.  Times.     Apr.  19.  1909.     p.  8.) 

Elektra.     (in  Lond.  Times.    Apr.  21.  1909.    p.  10.) 

Elektra.     (in  Lond  Times.    Apr.  24.  1909.     p.  15.) 

Elektra.      (in    Monthly    journal    of    International 

Musical  Society.     Apr.,  1909.) 
Synopsis  and  criticism  of  Elektra.    il.     (in  Theatre. 

V.  9.    Apr..  1909.     p.  128-9.) 
Premiere    at    Royal    Opera    House,    Dresden,      il. 

(in  Craftsman,     v.  17,  Dec,  1909.     p.  281-95.) 

Strauss'   Elektra.      (in   Bost.   Transcript.     Feb.  2, 


1910.) 

Gilman,  Lawrence.    Strauss'  Electra.  (in  Harp.  W. 

V.  54.    Feb.  12.  1910.    p.  25.) 

American  reception  of  Strauss'   Elektra.     il.      (in 


Cur.  Lit.    V.  48.     Mar.,  1910.    p.  322-5.) 

Quotes  A.  Farwell  in  Mus.  Amer.;  Mus.  Courier;  Henderson 
in  N.  Y.  Sun;  Finck  in  Ev.  Post.;  Krehbiel  in  N.  Y.  Tribune; 
Cartoon  from  Fliegende  Blatter  and  three  half  tones  of  char- 
acters in  opera. 

Baughan,  E:  A.     Strauss'  Elektra  and  the  future 


of  music  drama,    (in  Liv.  Age.    v.  265.    Apr.  30,  1910. 
p.  265-70.) 
From  English  Review. 

Elektra  at  the  Manhattan  Opera  House,    (in  Mus. 


Cour.    V.  60,  no.  14.    Apr.  6,  1910.    p.  31.) 
Bernard  Shaw's  glorification  of  Elektra.     (in  Cur. 

Lit.    V.  48.  May,  1910.    p.  536-7.) 
Feuersnot.      Strauss.    Richard.     Feuersnot;     ein   sing- 

gedicht  in  einem  akt  von  Ernst  von  Wolzogen.    Opus 

50,  331  p.     Berlin.  Adolph  Furstner.  cl901. 
The  full  score;   to  be  found  in  the  Library  of  Congress. 

Melitz.  Leo.    Feuersnot.     (in  his  Opera-goers'  com- 
plete guide.     1909.     p.   118-19.) 

Feuersnot.     (in  Mus.  Wld.    Jan..  '02.    p.  157-8.) 

Feuersnot  in  Vienna,    (in  Mus.  Cour.   v.  44.  no.  10, 


Mar.  5,  1902.     p.  12.) 

Feuersnot  in  Berlin,    (in  Mus.  Cour.    v.  45,  no.  21, 

Nov.  19,  1902.     p.  5.) 


STRAUSS  85 

Guntram.     Strauss,  Richard.     Guntram;    in  drei  Auf- 
ziigen.    Dichtung  und  Musik  von  R.  Strauss.    Opus  25, 
525  p.     Miinchen,  Jos.  Aible,  cl895. 
Full  score;   to  be  found  in  the  Library  of  Congress. 

Floersheim,   Otto.     First  performance  in  Weimar. 

(in  Mus.  Cour.   v.  28.  no.  23.    June  6.  1894.    p.  11-12.) 
Melitz,    Leo.       Guntram.       (in    his    Opera-goers' 


complete  guide.     1909.     p.  13&-8.) 

Guntram  in  Berlin,     (in  Mus.  cour.    June  20,  1901. 

V.  42,  no.  26,  p.  5-6.) 

Guntram.      (in   Boston   Symphony   Orchestra   pro- 


gram.    1904-5.    no.  4,  p.  222-7.) 

Salome.     Wilde,  Oscar.     Salome;    a  tragedy,  with  six- 
teen   full    page    illustrations    by    Aubrey    Beardsley. 
N.  Y.     Lane,   1906.     S3.50. 
The  play  from  which  the  opera  was  taken. 
Small  ed.    Lane. 

Strauss,   Richard.     Salome;    dramma   musicale  in 

un  atto  di  Oscar  Wilde;   tradotto  da  Alex.  Lewington. 
Opus.  54.     352  p.     Berlin,  Adolph  Furstner,  cl906. 
Strauss,    Richard.      Salome;     drame    musicale    en 


un  acte,  poeme  de  Oscar  Wilde.     352  p.     Opus.  54. 
Berlin,  Adolph  Furstner,  cl906. 
Full  score;    to  be  found  in  the  Library  of  Congress. 

Strauss,  Richard.     Salome;    drama  in  einem  Auf- 

zuge   nach   Oscar  Wilde's  gleichnamiger   Dichtung   in 
deutscher  Ubersetzung  von  Hedwig  Lachmann.    Opus. 
54.     352  p.     Berlin,  Adolph  Furstner,  cl905. 
Full  score;    to  be  found  in  the  hbrary  of  Congress. 
Chop,    Max.     Strauss'   Salome.     Leipzic   Reclam, 


1907.     (Universal  Bibliothek  4955.) 
—  Oilman,  Lawrence.     Strauss'  Salome;    a  guide  to 
the  opera,  with  musical  illustrations.    Lane,  1906. 
Gilman,    Lawrence.      Strauss'    Salome.       (in    his 


Musicof  tomorrow  and  other  studies.    1907.    p.  81-98.) 
—  Krehbiel,    H:    E.      Salome,      (in   his    Chapters   of 
opera.     1909.     p.  343-57.) 

Melitz,  Leo.     Salome,     (in    his  Opera-goers'  com- 


plete guide.     1909.     p.  337-8.) 

Singleton,    Esther.      Salome.      (in    her    Guide    to 

modern  opera.     1909.     p.  293-311.) 

—  Salome,     (in  Mus.  Stand.     Dec.  16,  1905.     p.  385.) 

—  Salome,     (in  Mus.  Cour.    Jan.  3.  1906.    p.  5.) 

—  Strauss'   Salome  scores  an  overwhelming  success, 
(in  Mus.  Amer.    v.  3.  no.  8.    Jan.  6.  1906.    p.  9.) 

Richard  Strauss'  Salome;    the  musical  sensation  of 


the  winter,     (in  Cur.  Lit.     v.  40.     1900.     p.  307-10.) 
Quotes  from  German  papers  and  London  Truth. 
Portraits  of  Strauss  and  his  wife. 
Cartoon  from   "Jugend." 
—  Salome  motifs  dissected,     (in  Mus.  Amer.     v.  3, 
no.  19.     Mar.  24,  1906.     p.  13.) 

Salome  in  Leipzic.     (in  Mus.  Amer.     v.  4,  no.  6. 


June  23.  1906,  p.  7.) 

Thus    spake    Richard    Strauss,      (in    Mus.    Amer. 

V.  4,  no.  10.     July  21.  1906.     p.  6.) 

Schneider,    Louis.      Salome's    success.      (in    Mus. 


Amer.     v.  4,  no.  13.     Aug.  11,  1906.     p.  2.) 


86  STRAUSS 

Salome.     Reception    of    Salome   in    N.    Y.     (in    Mus. 

Amer.     v.  4,  no.  20.    Sept.  29.  1906.    p.  5.) 
Gilman,     Lawrence.       Richard     Strauss'     Salome. 

(in  No.  Amer.     Rev.   v.  184.     Jan.,  1907.     p.  180-5.) 
Paris  sopranos  at  odds  over  "Salome."     (in  Mus. 


Amer.    v.  5,  no.  8.    Jan.  5.  1907.    p.  6.) 
—  Salome  in   Milan,     (in  Mus.  Amer.     v.  5,  no.  9. 
Jan.   12,   1907.     p.   11-12.) 
In  Milan  p.  11,  one-sixth  col. 
In  Berlin  p.  11,  one-fourth  col. 
VV.   J.    Henderson's  lectures  on  Salome  reviewed. 


(in  Mus.  Amer.    v.  5,  no.  10.    Jan.  19,  1907.  p.  5.) 

Richard    Strauss'    Salome.      (in    Nation,  v.    84, 

Jan.   24,   1907.     p.  89.) 

Chilton,  C.  B.     Salome,  a  septic  opera,  (in  Ind. 


V.  62.    Jan.  24,  1907.    p.  186-8.) 

Salome,     (in  Musician,     v.  11,  no.  5.     p.  249-50.) 

Gilman,    Lawrence.      Strauss'    Salome.      il.       (in 

Harp.   W.     V.  51.      Jan.  26,  1907.  p.  132;    53:  Feb. 

6.  '09.)     p.  27. 
Salome  creates  a  sensation  at  the  Conried  benefit. 

il.      (in  Mus.   Amer.      v.   5,   no.   11,     Jan.   26.    1907. 

p.   1  cont.  on  p.  8.) 

Richard    Strauss'    Salome,      il.      (in    Ind.      v.    62. 


Jan.  31,  1907.     p.  252-5.) 

Salome    is    barred    from    the    Metropolitan    Opera 

House,     (in  Mus.  Amer.     v.  5,  no.  12.    Feb.  2,  1907. 
p.  1  cont.  on  p.  8.) 

Gilman,  Lawrence.    A  maleficent  music  drama,    il. 


(in  Harp.  W.     v.  51.    Feb.  9,  1907.    p.  206.) 

Salome,     (in   Outlook,     v.  85.     Feb.  9,   1907.     p. 


294-5.) 

Conried  will  give  Salome  on  tour,     (in  Mus.  Amer. 

V.  5.  no.  15.    Feb.  23,  1907.    p.  1.) 

Emil  Paur,  conductor  of  the  Pittsburg  orchestra, 


gives  opinion  of  Salome,    (in  Mus.  Amer.    v.  5,  no.  15, 
Feb.  23,  1907.     p.  7.) 

Seven  veil  music  at  the  Metropolitan,     (in  Mus. 

Amer.    v.  5,  no.  16.     Mar.  2,  1907.    p.  2.) 

Strauss  making  a   standard  interpretation  of  the 


Salome  music,    il.  (in  Mus.  Amer.    v.  5,  no.  17,  Mar. 

9.  1907,  p.  18.) 
Salome  dropped,      (in  Mus.  Amer.     v.  5,  no.   17. 

Mar.  9,  1907.    p.  1.) 
Salome;    the  storm  centre  of  the  musical  world. 

(in  Cur.  Lit.     v.  42.     Mar.,  1907.     p.  294-8.) 
Richard  Strauss  and  the  music  of  the  future,     (in 

R.  of  R.    v.  35.     Mar.,  1907.    p.  354-5.) 
Cost    of    withdrawing    Salome,      (in    Mus.    Amer. 

V.  5.  no.  17.     Mar.  9,  1907.     p.  17.) 
Burlesque    on    Strauss'    music   drama,      (in    Mus. 

Amer.    v.  5,  no.  18.     Mar.  16,  1907.    p.  14.) 

Madame  Fremstadt  tells  why  opera  was  dropped. 


(in  Mus.  Amer.     v.  5,  no.  22.    Apr.  13,  1907.     p.  21.) 
—  Paris   audience   cheers   Salome,      (in   Mus.   Amer. 
v.  5.  no.  26.     May  11,  1907.    p.  21.) 

Too  many  Salomes  spoil  the  opera,    (in  Mus.  Amer. 


V.  6.  no.  2.     May  25.  1907.    p.  17.) 


STRAUSS  87 

Salome.  Salome  in  Paris,  with  portraits  of  Fremstadt, 
Kam,  Destinn  and  Larsen  as  Salome,  (in  Mus.  Amer. 
V.  6.  no.  11.    July  27.  1907.    p.  7.) 

Portrait  of  Maud  Allen  as  Salome,     (in  Theatre. 

V.  8.     Sept..  1908.     p.  235.) 

The  vulgarization  of  Salome,     (in  Cur.  Lit.    v.  45. 


Oct..   1908.     p.  437-40.) 

Quotes  Henderson  in  N.  Y.  Sun;  N.  Y.  World;  Evening  Mail; 
N.  Y.  Times. 

Portrait  of  Emmy  Destinn  as  Salome,    (in  Theatre. 

V.  8.     Dec.  1908.     p.  335.) 

Production  at  Manhattan  Opera  House,     (in  Mus. 


Cour.    V.  58.    Feb.  3.  1909.    p.  23-6.) 

Gilman,  L.    Strauss'  Salome  again,     (in  Harp.  W. 


53:    Feb.  6.  '09)     p.  27. 

Production  at  Manhattan  Opera   House.      (in   N. 

Music  R.     V.  8.     Mar..  1909.     p.  219-20.) 

Production  at  Manhattan  Opera  House,     (in  Crafts- 


man.    V.  15.     Mar..  1909.     p.  741-2.) 
—  Production  of  Salome  at  Manhattan  Opera  House, 
il.     (in  Theatre,     v.  9.     Mar..  1909.     p.  76-8.) 

Portrait  of  Hedwig  Reicher  as  Salome,     (in  Every- 


body's,    v.  20.    Apr.,  1909.    p.  564.) 
—  Portrait  of  Bellincioni  as  Salome,    (in  Mus.  Cour. 

V.  59,  no.  5.    Sept.  22.  1909.     p.  5.) 
Maud  Allen.    Port,  as  Salome,    (in  Theatre  9:  130. 

Apr.,  1909.) 
Portrait  of  Frau  Krull  as  Salome,     (in  Craftsman. 

v.  17.    Dec,  1909.    p.  284.) 


ABBREVIATIONS   FOR   PERIODICALS 
REFERRED  TO  IN  PART    II 


Acad. 

Atlan.  Mo. 

Bkman. 

Bk.  News. 

Cent. 

Contemp. 

Craftsman. 

Critic. 

Cur.  Lit. 

Dial. 

Etude. 

Everybody's. 

Fortn.  Rev. 

Forum. 

Gaz.  d.  Beaux  Arts. 

Harp.  W. 

111.  Lond.  N. 

Ind. 

Internat.  Stud. 

Lit.  Digest. 

Liv.  Age. 

Munsey. 

Music. 

Mus.  Amer. 

Mus.  Cour. 

Mus.  Rec.  &  Rev. 

Mus.  Stand. 

Mus.  Times. 

Mus.  Wld. 

Musician. 

Nation. 

No.  Amer.  Rev. 

19th  Cent. 

Outlook. 

Put.  Mo. 

R.  of  R. 

Sat.  Rev. 

Spectator. 

Theatre. 

W.  W. 


The  Academy. 

Atlantic  Monthly. 

Bookman. 

Book  News. 

Century  magazine. 

Contemporary  Review. 

Craftsman. 

Critic. 

Current  Literature. 

Dial. 

Etude. 

Everybody's  Magazine. 

Fortnightly  Review. 

Forum. 

Gazette  des  Beaux  arts. 

Harper's  Weekly. 

Illustrated  London  News. 

Independent. 

International  Studio. 

Literary  Digest. 

Living  Age. 

Munsey's  Magazine. 

Music. 

Musical  America. 

Musical  Courier. 

Musical  Record  and  Review. 

Musical  Standard. 

Musical  Times. 

Musical  World. 

Musician. 

Nation. 

No.  American  Review. 

Nineteenth  Century. 

Outlook. 

Putnam's  Monthly. 

Review  of  Reviews. 

Saturday  Review. 

Spectator. 

Theatre. 

World's  Work. 


TITLE -INDEX 

OF 

PLAYS  AND  OPERAS 


Page 

Admirable  Bashville 64 

Aglavaine  and  Selysette 41,  45 

(L')Aiglon 55.  59 

AUadine  and  Palomides 41 

Amazons   50 

And  Pippa  Dances    17,  21 

Ariane  and  Barbe  Bleu     44,  45 

Arme  Heinrich 23 

Arms  and  the  man    61,  62 


Beauty  stone    55 

Bed  of  roses      34 

Before  dawn     21 

Before  sunrise,  see  Before  dawn 

Benefit  of  the  doubt 50 

Blind  (The) 41,  42,  43 

Blue  bird 42 

(La)  Boheme    76 

Brand    25 

Breaking  a  butterfly     34 

Bygones 56 


Cabinet  minister    50 

Caesar  and  Cleopatra 61,  62 

Caesar's  apostasy,  see  Emperor  and  Galilean 

Candida 61 .  62 

Captain  Brassbound's  conversion 61,  62 

Carnac  Sahib   34 

Case  of  rebellious  Susan 34 

Chance,  the  idol 39 

Chantecler    58 

Chatterton    39 

Chevaleer     39 

Clerical  error    34 

Coming  of  peace    21 

Crusaders    34 

Cyrano  de  Bergerac    58,  59 


Daisy's  escape    56 

Dancing  girl      34 

Dandy  Dick      50 

Dark  lady  of  the  sonnets      66 

Daughter  of  Jorio    IS 

89 


90  TITLE-INDEX 

Page 

Deacon    35 

Dead  city        18 

Death  of  Tintagiles 41,  42 

Devil's  disciple 61,  62 

Doctor's  dilemma    61,  62 

Doll's  house    25.  26.  34 

Dolly  reforming  herself 35 

Dream  of  an  autumn  sunset    18 

Dream  of  a  spring  morning     18 

Edgar 76 

Einsame  menschen  see  Lonely  lives 

Electra 83.  84 

Elektra  see  Electra 

Elga 21,  24 

Elopement    35 

Emperor  and  Galilean, 25,  26 

Emperor  Julian  see  Emperor  and  Galilean 

Enemy  of  the  people 25,  26 

Es  lebe  das  leben  see  Joy  of  living 

Eternal  masculine     68 

Evangelist 39 

Fantasticks  (Rostand)        58 

Fantastics  see  Princess  and  the  butterfly 

Far  away  princess     68 

Faust 48 

Feast  at  Solhaug     25,  26 

Feuersnot    84 

Figlia  di  Jorio  see  Daughter  of  Jorio 

Fires  of  St.  John    67 

Florian  Geyer     24 

Francesca  da  Rimini 18,  20  ,49 

Friedensfest  see  Coming  of  peace 

Fritzchen 68 

Fuhrmann  Henschel      21,  24 

Gay  Lord  Quex    50 

Getting  married ■ 61,  62 

Ghosts 25,  26 

Gioconda 19 

Girl  of  the  golden  West    76 

Girls  and  boys     56 

Griselda 24 

Guntram 85 

Hannele 22.  23.  24 

Harmony 35 

Hearts  of  oak 35 

Hedda  Gabler 25.  27.  33 

Herod    47 

Hester's  mystery     50 

His  house  in  order 51,  57 

Hobby  horse     51 

Home 41,  42 

Hoodman  Blind     39 

How  he  lied  to  her  husband    61,  62 

Hypocrites    35 


TITLE-INDEX  91 

Page 

Imprudence    56 

In  chancery    51 

Interior  see  Home 

Intruder    41,  42 

Iris 51 

Iron  master 56 

Johannes 67,  69 

John  Bull's  other  Island 61,  62 

John  the  Baptist  see  Johannes 

John  Gabriel  Borkman 25,  27 

Joseph  entangled 35 

Joy  of  living 67 

Joyzelle     43,  45 

Judah 35 

Kolster  see  Elga 

Knife     39 

Lachey's  carnival 36 

Ladv  Bountiful    51 

Lady  from  the  sea    25,  26.  27,  33 

Lady  Inger  of  Ostrat    25,  27 

Last  visit 68 

League  of  youth 25,  27 

Letty     51 ,  57 

Liars 36 

Little  Eyolf 25,  27 

Lonely  lives    22 

Lord  Harry 39 

Lords  and  commons    56 

Love's  comedy 25,  28 

Low  water 56 

Madam  Butterfly    77 

Magda 68,  69 

Magistrate 52 

Maison  neuve  see  Mayfair 
Maitre  des  forges  see  Iron  master 

Major  Barbara 61,  63 

Man  and  Superman    64 

Man  of  destiny    61,  63 

Manoeuvres  of  Jane 36 

Manon  Lascaut      78 

Margot    68 

Martyrdom  of  St.  Sebastian    19 

Mary  Magdalene 42 

Masqueraders 36 

Master  builder 25.  28,  33 

Mayfair 57 

Michael  and  his  lost  angel 36 

Michael  Kramer    23 

Mid-channel 52 

Middleman     36 

Mrs.  Dane's  defense     36 

Mrs.  Warren's  profession     61.  63 

Monev-spinner     52 

Monna  Vanna    42,  45.  46 

Morituri    f>8 


92  TITLE-INDEX 

Page 

Nero 47 

Noble  vagabond 39 

Notorious  Mrs.  Ebbsmith        52 


Old  master    37 

Paolo  and  Francesca 47,  49 

Peer  Gynt 25.  28 

Pelleas  and  Melisande  (Debussy)  73,  74 

Pelleas  and  Melisande  (Maeterlinck) 41,  43,  45 

Philanderer 61,  63 

Physician    37 

Pietro  of  Siena 47 

Pillars  of  Society     25,  28 

Preserving  Mr.  Panmure     52 

Pretenders 25,  29 

Princess  and  the  butterfly      52 

Princess  F'ar-away,  see  Princesse  Lointaine 

Princess  Maleine     41,  44 

Princess'  nose 39 

Princesse  Lointaine 58 

Profligate    53 


Reconciliation    22 

Rector     57 

Red  cock 23 

Rocket 53 

Rogue's  comedy 37 

Romancers    59 

Rosa  Bernd 23,  24 

Roses 68 

Rosmersholm     25,  29,  33 

St.  John's  Fire,  see  Fires  of  St.  John 

Saints  and  sinners     37 

Salome  (Strauss)      79-81 ,  85-87 

(La)  Samaritaine 60 

San  Sebastiano,  see  Martyrdom  of  St.  John 

Schluck  und  Jan    24 

Schoolmistress    53 

Second  Mrs.  Tanqueray 53 

Seven  princesses 41,  44 

Shewing  up  of  Blanco  Posnet    61,  63 

Sightless,  see  Blind 

Silver  King 37 

Sin  of  David 47 

Sister  Beatrice      44 

Squire    53 

Streaks  of  light    68 

Sunken  bell 22,  23 

Sweet  Lavender    54 

Sweet  Will    37 


Teamster  Henschel,  see  Fuhrmann  Henschel 

Teja 68 

Tempter    37 

Three  heron's  feathers    68 


TITLE-INDEX  93 

Page 

Thunderbolt 54 

Times 54 

(La)  Tosca    78 

Trelawney  of  the  "Wells"    54 

Triumph  of  the  Philistines 37 

Ulysses    48 

Und  Pippa  tanzt,  see  And  Pippa  passes 

Vikings  at  Helgeland 25,  29 

(Le)  villi 79 

We  can't  be  as  bad  as  all  that    39 

Weaker  sex 54 

Wealth 39 

Weavers    23 

Weber,  see  Weavers 

White  washing  Julia 38 

Widowers'  houses    01,  63 

Wife  without  a  smile 54 

Wild  duck 25.  26,  29 


You  never  can  tell 61,  63 

Young  men's  league,  see  League  of  youth 


...THE... 

RIVERDALE   PRESS 

BROOKLINE 

MASS. 


UC  SOUTHERN  REGIONAL  LIBRARY  FACILITY 

nil  |ll  llll|||lll||i|i||i||ii|iii  mill  iiiiii||ii  Nil 


AA      000  318  287    0 


^- 


